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{{short description|Peruvian composer and ethnomusicologist}}
[[File:Daniel Alomía Robles, portrait.jpg|thumb|250px|Daniel Alomía Robles]]
[[File:Daniel Alomía Robles, portrait.jpg|thumb|Alomía Robles c. 1936]]
'''Daniel Alomía Robles''' (3 January 1871 – 17 July 1942) born in [[Huánuco]], [[Peru]]. He was a [[Peru]]vian composer and [[ethnomusicologist]]. He is best known for composing the song ''[[El Cóndor Pasa (song)|El Cóndor Pasa]]'' in 1913 as part of a [[zarzuela]], a musical play that alternates between spoken and sung parts, by the [[El Cóndor Pasa (play)|same name]]. This song was based on [[Andean music|Andean folk songs]] and is possibly the best known [[Peru]]vian song, partly due to the worldwide success that the melody obtained when it was used by [[Simon and Garfunkel]] as their music for "[[El Cóndor Pasa (song)|El Cóndor Pasa]] (If I Could)", although that song has different lyrics.
'''Daniel Alomía Robles''' (3 January 1871 – 17 July 1942) was a Peruvian composer and [[ethnomusicologist]]. He is best known for composing the song "[[El Cóndor Pasa (song)|El Cóndor Pasa]]" in 1913 as part of a [[zarzuela]] — a musical play that alternates between spoken and sung parts — of the [[El Cóndor Pasa (play)|same name]]. This song was based on [[Andean music|Andean folk songs]] and is possibly the best known Peruvian song, partly due to the worldwide success that the melody obtained when it was used by [[Simon & Garfunkel]] as their music for "[[El Cóndor Pasa (song)#Simon & Garfunkel version|El Cóndor Pasa (If I Could)]]", although that song has different lyrics.


==Early life==
==Early life==
Daniel Alomía Robles was born in [[Peru]] in the city of [[Huánuco]] on January 3, 1871.<ref name=PCOLRepublica>[http://www.acuarela.se/ElCondorPasa.htm La República. ""El Cóndor Pasa" patrimonio cultural de la nación" by Pedro Escribano. April 13, 2004.]</ref> His father, a French immigrant,<ref name=PCOLElperuano/> was [[Marcial Alomía]] and his mother was [[Micaela Robles]].<ref name=PCOLHuanuco>[http://www.webhuanuco.com/danielalomiarobles.htm WebHuanuco. "Daniel Alomía Robles"]</ref>
Daniel Alomía Robles was born in [[Huánuco]], [[Peru]], on January 3, 1871<ref name=PCOLRepublica>{{Cite web |url=http://www.acuarela.se/ElCondorPasa.htm |title=La República. ""El Cóndor Pasa" patrimonio cultural de la nación" by Pedro Escribano. April 13, 2004. |access-date=August 27, 2008 |archive-date=January 1, 2018 |archive-url=https://web.archive.org/web/20180101190813/http://www.acuarela.se/elcondorpasa.htm |url-status=dead }}</ref> to [[Micaela Robles]]<ref name="PCOLHuanuco">[http://www.webhuanuco.com/danielalomiarobles.htm WebHuanuco. "Daniel Alomía Robles"]</ref> and [[Marcial Alomía]], a French immigrant.<ref name=PCOLElperuano/>


Alomía Robles said in an interview in 1942 that his first exposure to music was when he was six years old and his mother took him to hear mass in [[Huánuco]] and he began to sing along with the chorus.<ref name=PCOLPeruanidad/> Alomía Robles said that he had a good ear and could reproduce any sound that he heard and that he took special pleasure as a child in singing the indigenous songs of [[Peru]].<ref name=PCOLPeruanidad/>
Alomía Robles said in an interview in 1942 that his first exposure to music was when he was six years old when his mother took him to hear mass in Huánuco, and he began to sing along with the chorus.<ref name=PCOLPeruanidad/> Alomía Robles said that he had a good ear and could reproduce any sound that he heard and that he took special pleasure as a child in singing the indigenous songs of Peru.<ref name=PCOLPeruanidad/>


==Musical Education==
==Musical education==
Daniel Alomía Robles attended primary school at [[La Mineria]] in [[Huánuco]] and moved with his family to [[Lima, Peru]] in 1882.<ref name=PCOLRepublica/><ref name=PCOLConsejo>[http://www.concytec.gob.pe/infocyt/cienper/DANIEL_ALOMIA_ROBLES.htm Consejo Nacional de Ciencia, Tecnología e Innovación Tecnologógica. "Alomía Robles"]</ref> It was while living with an uncle in [[Lima]] at the age of 12 that Alomía Robles first heard musical theatre.<ref name=PCOLPeruanidad/>
Alomía Robles attended primary school at [[La Mineria]] in Huánuco and moved with his family to [[Lima, Peru]] in 1882.<ref name=PCOLRepublica/><ref name=PCOLConsejo>{{Cite web |url=http://www.concytec.gob.pe/infocyt/cienper/DANIEL_ALOMIA_ROBLES.htm |title=Consejo Nacional de Ciencia, Tecnología e Innovación Tecnologógica. "Alomía Robles" |access-date=2008-08-27 |archive-url=https://web.archive.org/web/20080321143948/http://www.concytec.gob.pe/infocyt/cienper/DANIEL_ALOMIA_ROBLES.htm |archive-date=2008-03-21 |url-status=dead }}</ref> It was while living with an uncle in Lima at the age of 12 that Alomía Robles first heard musical theatre.<ref name=PCOLPeruanidad/>


[[Lima]] in the early twentieth century was filled with musical theatre and many well known musicians made their home in [[Lima]].<ref name=PCOLPeruanidad/> Alomía Robles discovered that the theatre needed extras in the chorus line and offered himself so he could hear the music for free and learn the operettas of that period.<ref name=PCOLPeruanidad/>
Lima in the early 20th-century was filled with musical theatre, and many well known musicians made their home in Lima.<ref name=PCOLPeruanidad/> Alomía Robles discovered that the theatre needed extras in the chorus line and offered himself so he could hear the music for free and learn the operettas of that period.<ref name=PCOLPeruanidad/>


In [[Lima]], Alomía Robles studied at the college [[Nuestra Señora de Guadalupe]].<ref name=PCOLRepublica/> Alomía Robles' early interest in music was encouraged there by his teachers [[Manuel De la Cruz Panizo]] and [[Claudio Rebagliatti]].<ref name=PCOLRepublica/> Alomía Robles says that Rebagliatti took him under his wing and offered to teach him music if Alomía Robles would help o Rebagliatti in his concerts.<ref name=PCOLPeruanidad/>
In Lima, Alomía Robles studied at the college [[Nuestra Señora de Guadalupe]].<ref name=PCOLRepublica/> Alomía Robles' early interest in music was encouraged there by his teachers [[Manuel De la Cruz Panizo]] and [[Claudio Rebagliatti]].<ref name=PCOLRepublica/> Alomía Robles says that Rebagliatti took him under his wing and offered to teach him music if Alomía Robles would help o Rebagliatti in his concerts.<ref name=PCOLPeruanidad/>


In 1892, Alomía Robles decided to study medicine at [[University of San Marcos]].<ref name=PCOLRepublica/><ref name=PCOLConsejo/> In Alomía Robles' third year studying medicine, he traveled with other students to the Amazon jungle regions where he met [[Catholic]] missionary [[Gabriel Sala]], who came to have a decisive influence on Alomía Robles' life in music.<ref name=PCOLHuanuco/> Sala had created a city in the Amazon jungle region with 400 men and women who he taught to work in the fields and build their houses.<ref name=PCOLCantera/> Sala said to his people that it was not good to work without resting. So every Sunday at 2:00 PM he brought the people together to sing and dance.<ref name=PCOLCantera/>
In 1892, Alomía Robles decided to study medicine at [[University of San Marcos]].<ref name=PCOLRepublica/><ref name=PCOLConsejo/> In his third year he traveled with other students to the [[Amazon jungle]] regions where he met [[Catholic]] missionary [[Gabriel Sala]], who came to influence Alomía Robles' life in music.<ref name=PCOLHuanuco/> Sala had created a city in the Amazon jungle region with 400 men and women who he taught to work in the fields and build their houses.<ref name=PCOLCantera/> Sala said to his people that it was not good to work without resting. So every Sunday at 2:00 PM he brought the people together to sing and dance.<ref name=PCOLCantera/>


Alomía Robles decided to leave the university in 1894 and dedicate his life to music.<ref name=PCOLRepublica/><ref name=PCOLConsejo/> Alomía Robles' family, who had encouraged him to study medicine, were against his trying to make a life in music.<ref name=PCOLPeruanidad/>
Alomía Robles decided to leave the University in 1894 and dedicate his life to music.<ref name=PCOLRepublica/><ref name=PCOLConsejo/> Alomía Robles' family, who had encouraged him to study medicine, were against this change of direction.<ref name=PCOLPeruanidad/>


==Musical Travels in South America==
==Musical travels in South America==
Daniel Alomía Robles began traveling throughout [[Peru]] compiling the stories and myths of the folk music of the Amazon jungle regions and the mountains of the Andes. He continued his vast collections of versions of the songs from the most remote villages of [[Peru]].<ref name=PCOLRepublica/> Alomía Robles also traveled to Bolivia and Ecuador during this period.<ref name=PCOLRepublica/>
Alomía Robles traveled throughout Peru compiling the stories and myths of the folk music of the Amazon jungle regions and the mountains of the Andes. He continued his collections of versions of the songs from the most remote villages of Peru.<ref name=PCOLRepublica/> Alomía Robles also traveled to Bolivia and Ecuador during this period.<ref name=PCOLRepublica/>


It was during this period that Alomía Robles was appointed to the posts of [[Subperfecto and Justice of the Peace]] in [[Jauja]] and later mayor of [[Huacho]].<ref name=PCOLConsejo/>
It was during this period that Alomía Robles was appointed to the posts of [[Subperfecto and Justice of the Peace]] in [[Jauja]] and later mayor of [[Huacho]].<ref name=PCOLConsejo/>


In February 1897, Alomía Robles married [[Sebastiana Godoy Agostini]], a Cuban pianist known as "[[Chana]]" whom he had met while he was living in [[Jauja]].<ref name=PCOLCriollo>[http://www.criollosperuanos.com/Compositores/Alomias-Robles.htm Criollos Peruanos. "Daniel Alomía Robles"]</ref><ref name=PCOLMarcela/> His wife supported him during his travels in South America.<ref name=PCOLMarcela>[http://www.elcomercio.com.pe/EdicionImpresa/Html/2007-07-15/ImEcLuces0754342.html El Comercio. "Ella Me Lo Cuenta Todo" by Marcela Robles. July 15, 2007.]</ref> In an interview in 1942 with [[Esteban Pavletich Trujillo]], Alomía Robles credited his wife with the impetus for creating his first musical works.<ref name=PCOLPeruanidad>[http://canteradecanterurias.blogspot.com/2008/07/daniel-aloma-en-primera-persona.html Revista Peruanidad. An Interview with Daniel Alomía Robles" by Esteban Pavletich Trujillo. July 1942 N° 8, Vol. II]</ref>
In February 1897, Alomía Robles married [[Sebastiana Godoy Agostini]], a Cuban pianist known as "Chana" whom he had met while he was living in Jauja.<ref name=PCOLCriollo>[http://www.criollosperuanos.com/Compositores/Alomias-Robles.htm Criollos Peruanos. "Daniel Alomía Robles"]</ref><ref name=PCOLMarcela/> His wife supported him during his travels in South America.<ref name=PCOLMarcela>[http://www.elcomercio.com.pe/EdicionImpresa/Html/2007-07-15/ImEcLuces0754342.html El Comercio. "Ella Me Lo Cuenta Todo" by Marcela Robles. July 15, 2007.]</ref> In an interview in 1942 with [[Esteban Pavletich Trujillo]], Alomía Robles credited his wife as the impetus for creating his first musical works.<ref name=PCOLPeruanidad>[http://canteradecanterurias.blogspot.com/2008/07/daniel-aloma-en-primera-persona.html Revista Peruanidad. An Interview with Daniel Alomía Robles" by Esteban Pavletich Trujillo. July 1942 N° 8, Vol. II]</ref>


In 1910, Alomía Robles published his discovery that the musical structure of Andean music, was a [[Pentatonic scale]].<ref name=PCOLRepublica/> In 1911, Alomía Robles traveled to [[Argentina]] for the performance of his first opera ''[[Illa Cori]]'' that told the story of the [[Inca]] ruler [[Huayna Cápac]] and his conquest of [[Quito]].
In 1910, Alomía Robles published his discovery that the musical structure of Andean music involved a [[Pentatonic scale]].<ref name=PCOLRepublica/> In 1911, Alomía Robles traveled to [[Argentina]] for the performance of his first opera ''[[Illa Cori]]'' that told the story of the [[Inca]] ruler [[Huayna Cápac]] and his conquest of [[Quito]].


[[Marcela Robles]], granddaughter of Daniel Alomía Robles, writes that in a time when the musical folklore of [[Peru]] was ignored or looked down on, Alomía Robles was a pioneer in collecting the music that otherwise would have disappeared.<ref name=PCOLCantera>[http://canteradecanterurias.blogspot.com/2008/07/daniel-aloma-en-primera-persona.html Apuntes. Historia de Huanuco, Revista antológica N° 4, ago. 2000, pp. 15-23 "Daniel Alomía Robles en primera persona".]</ref>
[[Marcela Robles]], granddaughter of Alomía Robles, writes that in a time when the musical folklore of Peru was ignored or looked down on, Alomía Robles was a pioneer in collecting the music that otherwise would have disappeared.<ref name=PCOLCantera>[http://canteradecanterurias.blogspot.com/2008/07/daniel-aloma-en-primera-persona.html Apuntes. Historia de Huanuco, Revista antológica N° 4, ago. 2000, pp. 15-23 "Daniel Alomía Robles en primera persona".]</ref>


=="[[El Cóndor Pasa (song)]]"==
=="El Cóndor Pasa"==
[[Image:Paul Simon 2007.jpg|thumb|right|250 px|[[Simon and Garfunkel]] popularized "El Cóndor Pasa (If I Could)", with new English lyrics written by [[Paul Simon]] (above)]]
[[Image:Paul Simon 2007.jpg|thumb|right|250 px|[[Simon & Garfunkel]] popularized "El Cóndor Pasa (If I Could)", with new English lyrics written by [[Paul Simon]] (above)]]
In 1913, Daniel Alomía Robles composed "[[El Cóndor Pasa (song)]]", and the composition was first performed publicly at the [[Teatro Mazzi]] in [[Lima]].<ref name=PCOLRepublica/> The song was composed as part of a "[[zarzuela]]" (Spanish operetta) of strong social content about Peruvian miners in [[Cerro de Pasco]] and their relations with the foreign mining company.<ref>[http://www.bsomusic.org/main.taf?p=1,1,1,7,10 Baltimore Symphony. "The Inca Trail" 2008.]</ref> [[Marcela Robles]] writes that the [[zarzuela]] contained eight parts and was performed over 3,000 times in [[Lima]] at the [[Teatro Mazzi]].<ref name=PCOLCantera/>
In 1913, Daniel Alomía Robles composed "[[El Cóndor Pasa (song)|El Cóndor Pasa]]", and the composition was first performed publicly at the [[Teatro Mazzi]] in Lima.<ref name=PCOLRepublica/> The song was composed as part of a zarzuela (Spanish operetta) of strong social content about Peruvian miners in [[Cerro de Pasco]] and their relations with the foreign mining company.<ref>{{Cite web |url=http://www.bsomusic.org/main.taf?p=1,1,1,7,10 |title=Baltimore Symphony. "The Inca Trail" 2008. |access-date=2008-08-28 |archive-date=2008-09-29 |archive-url=https://web.archive.org/web/20080929025411/http://www.bsomusic.org/main.taf?p=1,1,1,7,10 |url-status=dead }}</ref> Marcela Robles writes that the zarzuela contained eight parts and was performed over 3,000 times in Lima at the Teatro Mazzi.<ref name=PCOLCantera/>


==Covers and Adaptations==
===Covers and adaptations===


⚫
In 1965, the American musician [[Paul Simon]] first heard the [[Los Incas]] version in a performance at the [[Théâtre de l'Est Parisien]] (Paris), in which both Paul Simon and the band, Los Incas participated. Simon requested use of the song for a future recording, to which [[Jorge Milchberg]], a founding member of the band, wrongly informed him it was a [[traditional]] [[folk melody]]. Jorge Milchberg further informed Paul Simon that he is registered as the co-author and the arrangement on their version and added the well-known introduction which was not part of the original melody.
The only original version of the "[[zarzuela]]" (7 musical pieces) has been reconstructed and recorded in 2013 by the [[Colectivo Cultural Centenario]]; [[El Cóndor Pasa (play)|El Cóndor Pasa]] association. The pieces have been written for orchestra and not for Andean instruments. The most famous parts like the prelude, parade and cachua have been covered and adapted from the piano arrangement that Alomía Robles registered patent with [[The Edward B. Marks Music Corp.]] in 1933, in New York.


⚫
In 1970, the duo [[Simon & Garfunkel]] eventually covered the Los Incas version as "El Cóndor Pasa (If I Could)" for the album ''[[Bridge Over Troubled Water]]'', with the added English lyrics by Paul Simon. The recording which attracted international acclaim and success. As Simon had believed the song to be a traditional Andean folk melody, only his name appeared as writer of the lyrics. Daniel Alomía Robles' son, Peruvian filmmaker [[Armando Robles Godoy]], successfully sued for royalties and even later wrote new Spanish lyrics for the song himself, using Paul Simon's version as a reference. He bore no malice towards Simon for what he considered a misunderstanding and an honest mistake on the grounds that Simon had relied on misinformation.<ref name=PCOLElcine>{{cite journal |url=http://www.diariolaprimeraperu.com/online/semana/images/ediciones/pdf/6/6-4.pdf |title=El cine, los libros, la muerte (an interview with Armando Robles Godoy) |language=Spanish |journal=Diario la Primera |author=Juan Carlos Bondy |date=July 6, 2008 |accessdate=2011-07-10 |url-status=dead |archiveurl=https://web.archive.org/web/20110710123034/http://www.diariolaprimeraperu.com/online/semana/images/ediciones/pdf/6/6-4.pdf |archivedate=July 10, 2011 }}</ref>
⚫
In 1965, the American musician [[Paul Simon]] first heard the [[Los Incas]] version in a performance at the [[Théâtre de l'Est Parisien]] (Paris), in which both [[Paul Simon]] and the band, [[Los Incas]] participated. [[Paul Simon]] requested use of the song for a future recording, to which [[Jorge Milchberg]]; founding member of the band informed him it was a [[Traditional]] folk melody. [[Jorge Milchberg]] further informed [[Paul Simon]] that he is registered as the co-author and the arrangement on their version and added the well-known introduction which was not part of the original melody.

⚫
In 1970, the duo [[Simon & Garfunkel]] eventually covered the [[Los Incas]] version as "El Cóndor Pasa (If I Could)" for the album ''[[Bridge Over Troubled Water]]'', with the added English lyrics by [[Paul Simon]]. The recording which attracted international acclaim and success. As [[Paul Simon]] believed the song to be a [[Traditional]] Andean folk melody, only his name appeared as writer of the lyrics. Daniel Alomía Robles' son, Peruvian filmmaker [[Armando Robles Godoy]], successfully sued for royalties and even later wrote new Spanish lyrics for the song himself, using [[Paul Simon]]'s version as a reference.


In December 1996, the World Intellectual Property Organization (WIPO), enacted the Rights Of Performers (Moral Rights Of Performers); also known as "The Morality Treaty" into sanction. The parade and the cachua have been widely covered and spread, and in some cases, lyrics have been added (all of them should be considered [[apocryphal]]) and generally their rhythms and instrumentations have been changed.
In December 1996, the World Intellectual Property Organization (WIPO), enacted the Rights Of Performers (Moral Rights Of Performers); also known as "The Morality Treaty" into sanction. The parade and the cachua have been widely covered and spread, and in some cases, lyrics have been added (all of them should be considered [[apocryphal]]) and generally their rhythms and instrumentations have been changed.


==Life In The United States==
==Life in the United States==
[[File:SebastianaGodoyAgostini1920SouthAmer.png|thumb|Sebastiana Godoy de Robles, from a 1920 publication.]]
In 1919, Daniel Alomía Robles traveled to the United States, living in New York City for fourteen years until his return to [[Peru]] in 1933.<ref name=PCOLRepublica/> Alomía Robles found life in the United States hard and a constant series of ups and downs even after he won third prize in a musical contest with 3,000 competitors.<ref name=PCOLPeruanidad/> During his time in the United States, Alomía Robles performed in concerts, recorded music, and offered talks about Peruvian music.<ref name=PCOLConsejo/>
In 1919, Alomía Robles traveled to the United States, living in New York City for 14 years until his return to Peru in 1933.<ref name=PCOLRepublica/> He found life in the United States hard and a constant series of ups and downs even after he won third prize in a musical contest with 3,000 competitors.<ref name=PCOLPeruanidad/> During his time in the United States, Alomía Robles performed in concerts, recorded music, and offered talks about Peruvian music.<ref name=PCOLConsejo/>


[[Sebastiana Godoy Agostini]] traveled to New York with her husband, but sadly died of cancer the year after her arrival.<ref name=PCOLMarcela/> Her sister, [[Carmela Godoy Agostini]], had accompanied the couple to New York to take care of [[Sebastiana Godoy Agostini]] during her long illness.<ref name=PCOLMarcela/> In 1922, two years after [[Sebastiana Godoy Agostini]]'s untimely death, Alomía Robles wed [[Carmela Godoy Agostini]], going on to sire two more children, Armando and Mario, bringing his total to twelve.<ref name=PCOLElperuano>[http://www.elperuano.com.pe/edc/2006/12/02/pers_.asp El Peruano. "El nuevo vuelo del cóndor" by Jose Vadillo Vila. January 12, 2006]</ref><ref name=PCOLMarcela/><ref name=PCOLCartoons/> [[Marcela Robles]] writes that her grandmother [[Carmela Godoy Agostini]] supported the family during the Depression in New York City by selling paper flowers while Alomía Robles sat in front of his piano pursuing his music indifferent to his surroundings.<ref name=PCOLMarcela/>
Sebastiana Godoy Agostini traveled to New York with her husband, but died of cancer the year after her arrival.<ref name=PCOLMarcela/> Her sister, [[Carmela Godoy Agostini]], had accompanied the couple to New York to take care of Sebastiana during her illness.<ref name=PCOLMarcela/> In 1922, two years after his wife's death, Alomía Robles married Carmela Godoy Agostini, and together they had two children, Armando and Mario.<ref name=PCOLElperuano>{{Cite web |url=http://www.elperuano.com.pe/edc/2006/12/02/pers_.asp |title=El Peruano. "El nuevo vuelo del cóndor" by Jose Vadillo Vila. January 12, 2006 |access-date=August 28, 2008 |archive-url=https://web.archive.org/web/20080327153445/http://www.elperuano.com.pe/edc/2006/12/02/pers_.asp |archive-date=March 27, 2008 |url-status=dead }}</ref><ref name=PCOLMarcela/><ref name=PCOLCartoons/> Marcela Robles writes that her grandmother Carmela Godoy Agostini supported the family during the Depression in New York City by selling paper flowers while Alomía Robles sat in front of his piano pursuing his music indifferent to his surroundings.<ref name=PCOLMarcela/>


Alomía Robles' second youngest child, [[Armando Robles Godoy]], who became a well known Peruvian film director,<ref name=PCOLElcine>[http://www.diariolaprimeraperu.com/online/semana/images/ediciones/pdf/6/6-4.pdf Diario La Primera. "El cine, los libros, la muerte - An interview with Armando Robles Godoy" by Juan Carlos Bondy. July 6, 2008.]</ref> says that in his fourteen years in New York City, his father never learned to speak English.<ref name=PCOLElperuano/> He also said his father had a beautiful baritone voice and was obsessed with the number "seven", only one of the mysteries that surrounded the magical world that his father lived in.<ref name=PCOLElperuano/>
Alomía Robles' second youngest child, Armando Robles Godoy, who became a well known Peruvian film director,<ref name=PCOLElcine/> says that in his 14 years in New York City, his father never learned to speak English.<ref name=PCOLElperuano/> He also said his father had a beautiful baritone voice and was obsessed with the number ''seven'', only one of the mysteries that surrounded the magical world that his father lived in.<ref name=PCOLElperuano/>


''[[The New York Times]] reported'' on July 25, 1930 that the [[Goldman Band]] led by conductor [[Edwin Frank Goldman]] had played a program of [[Peru]]vian music composed by Alomía Robles on the campus of [[New York University]].<ref name=PCOLGoldman/> At the conclusion of the first half of the program Alomía Robles presented a bust of Mr. Goldman to the conductor.<ref name=PCOLGoldman/> Alomía Robles pointed out in a brief address that Mr. Goldman was the only American conductor who had made extensive use of Peruvian music.<ref name=PCOLGoldman/> The program included five compositions by Alomía Robles, "[[March Peru]]", "[[En Los Andes]]", "[[Hymn To The Sun]]", "[[Cashua]]" and "[[Fondero]]".<ref name=PCOLGoldman/>
''[[The New York Times]]'' reported on July 25, 1930 that the [[Goldman Band]] led by conductor [[Edwin Frank Goldman]] had played a program of Peruvian music composed by Alomía Robles on the campus of [[New York University]].<ref name=PCOLGoldman/> At the conclusion of the first half of the program Alomía Robles presented a bust of Mr. Goldman to the conductor.<ref name=PCOLGoldman/> Alomía Robles pointed out in a brief address that Mr. Goldman was the only American conductor who had made extensive use of Peruvian music.<ref name=PCOLGoldman/> The program included five compositions by Alomía Robles, "[[March Peru]]", "[[En Los Andes]]", "[[Hymn To The Sun]]", "[[Cashua]]" and "[[Fondero]]".<ref name=PCOLGoldman/>


According to ''[[The New York Times]]'', "several of his compositions were based on ancient Inca melodies, furthermore the music from which "[[Hymn To The Sun]]" was arranged is estimated to be about 3,000 years old."<ref name=PCOLGoldman>New York Times. "Goldman Band Plays Compositions of Scultprot Robles, Who Presents a Bust to Conductor. July 25, 1930.</ref>
According to ''The New York Times'', "several of his compositions were based on ancient Inca melodies, furthermore the music from which "Hymn To The Sun" was arranged is estimated to be about 3,000 years old."<ref name=PCOLGoldman>New York Times. "Goldman Band Plays Compositions of Scultprot Robles, Who Presents a Bust to Conductor. July 25, 1930.</ref>


Alomía Robles returned to [[Peru]] in 1933 after fourteen years in the United States<ref name=PCOLRepublica/> and took up the post of the head of the Section of Fine Arts at the [[Ministry of Education]] in [[Lima, Peru]].<ref>[http://www.latinoamerica-online.info/cult04/musica06.04.html Latin America Online. ""El Cóndor Pasa" declarada Patrimonio Cultural de Perú"]</ref> His son [[Sebastian Tomas Robles]] remained in the [[United States]] and in 1933 became a staff cartoonist for the [[Editors Press Service]] in [[New York City]] and was selected by the [[Washington Post]] to sketch government personalities for the [[National Gallery]].<ref name=PCOLCartoons>New York Times. "Sebastian T. Robles, Cartoonist, was 57" August 31, 1959.</ref>
Alomía Robles returned to Peru in 1933 after 14 years in the United States<ref name=PCOLRepublica/> and took up the post of the head of the Section of Fine Arts at the [[Ministry of Education]] in Lima, Peru.<ref>[http://www.latinoamerica-online.info/cult04/musica06.04.html Latin America Online. ""El Cóndor Pasa" declarada Patrimonio Cultural de Perú"]</ref> His son [[Sebastian Tomas Robles]] remained in the [[United States]] and in 1933 became a staff cartoonist for the [[Editors Press Service]] in [[New York City]] and was selected by ''[[The Washington Post]]'' to sketch government personalities for the [[National Gallery]].<ref name=PCOLCartoons>New York Times. "Sebastian T. Robles, Cartoonist, was 57" August 31, 1959.</ref>


==Musical Legacy==
==Musical legacy==
Alomía Robles compiled over 700 compositions of popular music of [[Peru]]<ref name=PCOLCatholic/> and according to the catalog compiled by [[Rodolfo Holzmann]] in 1943,<ref name=PCOLCatholic/> Alomía Robles composed more than 238 songs<ref name=PCOLCatholic/> including "[[El Indio]]", "[[Resurgimiento De Los Andes]]", "[[Amanecer Andino]]", "[[Danza Huanca]]" and "[[Alcedo Y Su Ballet]]".<ref name=PCOLRepublica/> In 1990, [[Armando Robles Godoy]] published a folio of his father's compositions, ''[[Himno Al Sol: La Obra Folclórica Y Musical De Daniel Alomía Robles]]''.<ref name=PCOLElcine/> [[Armando Robles Godoy]] said this was a labor of love. The research alone took him two years to collect the pieces with the help of [[Enrique Pinilla]] y [[Édgar Valcárcel]].<ref name=PCOLElcine/> In a 1940 article on the state of music in [[Peru]], ''[[The New York Times]]'' praised Alomía Robles as having "a considerable natural talent" and for "bettering the knowledge of the folklore of his country."<ref name=PCOLCurt>New York Times. "The State of Music in Peru" by Francisco Curt Lange. July 14, 1940.</ref>
Alomía Robles compiled over 700 compositions of popular music of Peru<ref name=PCOLCatholic/> and according to the catalog compiled by [[Rodolfo Holzmann]] in 1943,<ref name=PCOLCatholic/> Alomía Robles composed more than 238 songs<ref name=PCOLCatholic/> including "[[El Indio (song)|El Indio]]", "[[Resurgimiento De Los Andes]]", "[[Amanecer Andino]]", "[[Danza Huanca]]" and "[[Alcedo Y Su Ballet]]".<ref name=PCOLRepublica/> In 1990, Armando Robles Godoy published a folio of his father's compositions, ''[[Himno Al Sol: La Obra Folclórica Y Musical De Daniel Alomía Robles]]''.<ref name=PCOLElcine/> Armando Robles Godoy said this was a labor of love. The research alone took him two years to collect the pieces with the help of [[Enrique Pinilla]] y [[Édgar Valcárcel]].<ref name=PCOLElcine/> In a 1940 article on the state of music in Peru, ''The New York Times'' praised Alomía Robles as having "a considerable natural talent" and for "bettering the knowledge of the folklore of his country."<ref name=PCOLCurt>New York Times. "The State of Music in Peru" by Francisco Curt Lange. July 14, 1940.</ref>


==Personal life==
==Personal life==
[[File:Daniel Alomía Robles, portrait 5.jpg|thumb|Daniel Alomía Robles, Legacy]]
[[File:Daniel Alomía Robles, portrait 5.jpg|thumb|Daniel Alomía Robles, Legacy]]
Daniel Alomía Robles was married to [[Sebastiana Godoy Agostini]] with whom he had ten children including four sons: Jack, Felix, Ernest, and Carlos.<ref name=PCOLElperuano/><ref name=PCOLCartoons/> After Alomía Robles' wifes untimely death of cancer, he married his wife's sister, [[Carmela Godoy Agostini]], with whom he had two more children: Mario and Armando.<ref name="PCOLElperuano"/><ref name=PCOLMarcela/><ref name=PCOLCartoons/>
Daniel Alomía Robles was married to Sebastiana Godoy Agostini with whom he had ten children including four sons: Jack, Felix, Ernest, and Carlos.<ref name=PCOLElperuano/><ref name=PCOLCartoons/> After Sebastiana's death from cancer, he married her sister, Carmela Godoy Agostini, with whom he had two more children: Mario and [[Armando Robles Godoy|Armando]].<ref name="PCOLElperuano"/><ref name=PCOLMarcela/><ref name=PCOLCartoons/>


Alomía Robles died in [[Chosica]], about thirty miles from [[Lima]], of [[septicemia]] on June 18, 1942.<ref name=PCOLRepublica/><ref>[http://www.filarmonika.com/composers.php?act=search&type=2 Filarmonika. "Latin American Composers" 2006.]</ref>
Robles died of [[sepsis]] on June 18, 1942 at [[Chosica]], about 30 miles from [[Lima]].<ref name=PCOLRepublica/><ref>{{Cite web |url=http://www.filarmonika.com/composers.php?act=search&type=2 |title=Filarmonika. "Latin American Composers" 2006. |access-date=2008-08-28 |archive-url=https://web.archive.org/web/20080929135749/http://www.filarmonika.com/composers.php?act=search&type=2 |archive-date=2008-09-29 |url-status=dead }}</ref>


On August 14, 1996 Alomía Robles' remains were returned to his hometown of [[Huánuco]] where they were received by thousands of people.<ref name=PCOLHuanuco/>
On August 14, 1996 his remains were returned to his hometown of Huánuco where they were received by thousands of people.<ref name=PCOLHuanuco/>


On December 1, 2006 the family of Alomía Robles, represented by his son [[Armando Robles Godoy]], donated the original manuscripts of all Daniel Alomía Robles' compositions to the [[Catholic University Of Peru]].<ref name=PCOLCatholic>[http://www.universidadperu.com/peru-donacion-de-manuscritos-musicales-de-daniel-alomia-robles.php Universidad Peru. "Donación de manuscritos musicales de Daniel Alomía Robles" December 1, 2006]</ref> The manuscripts included the originals of “El Cóndor Pasa” and “Himno Al Sol”, and all of the “Colección Folklórica”.<ref name=PCOLCatholic/>
On December 1, 2006 the family of Alomía Robles, represented by his son Armando Robles Godoy, donated the original manuscripts of all Daniel Alomía Robles' compositions to the [[Catholic University Of Peru]].<ref name=PCOLCatholic>[http://canteradesonidos.blogspot.com/2008/07/daniel-aloma-en-primera-persona.html Cantera de Sonidos. "Donación de manuscritos musicales de Daniel Alomía Robles" December 1, 2006]</ref> The manuscripts included the originals of “El Cóndor Pasa” and “Himno Al Sol”, and all of the “Colección Folklórica”.<ref name=PCOLCatholic/>


==References==
==References==
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{{reflist|2}}
{{reflist|2}}


{{cleanup section|reason=sorting, formatting, etc.|date=November 2018}}
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{{Authority control}}

* Varallanos, José. (1988). "El cóndor pasa. Vida y obra de Daniel Alomía Robles". Talleres Gráficos P.I. Villanueva. S.A. subject to law 13714. First edition, November 1988. Lima-Perú.
* Varallanos, José. (1988). "El cóndor pasa. Vida y obra de Daniel Alomía Robles". Talleres Gráficos P.I. Villanueva. S.A. subject to law 13714. First edition, November 1988. Lima-Perú.
* Colectivo Cultural Centenario El Cóndor Pasa, ed. (2013). El cóndor pasa…Cien años después. Lima. ISBN 9786124647208. Registered in the National Library of Peru.
* Colectivo Cultural Centenario El Cóndor Pasa, ed. (2013). El cóndor pasa…Cien años después. Lima. {{ISBN|9786124647208}}. Registered in the National Library of Peru.
* Salazar Mejía, Luis (2013). El misterio del cóndor: Memoria e historia de "El cóndor pasa…". Lima: Taky Onqoy Ediciones. ISBN 9786124660504. Registered in the National Library of Peru.
* Salazar Mejía, Luis (2013). El misterio del cóndor: Memoria e historia de "El cóndor pasa…". Lima: Taky Onqoy Ediciones. {{ISBN|9786124660504}}. Registered in the National Library of Peru.
* Cerrón Fetta Mario, (2014). Cuadernos de Música Peruana Nº 12. Lima.Editorial/ Cuadernos de Música. Register: Legal deposit Nº2008-06894. Registered in the National Library of Peru.
* Cerrón Fetta Mario, (2014). Cuadernos de Música Peruana Nº 12. Lima.Editorial/ Cuadernos de Música. Register: Legal deposit Nº2008-06894. Registered in the National Library of Peru.
⚫
External links


⚫
==External links==
Audio and video
* {{IMSLP|id=Robles, Daniel Alomia}}


⚫
{{Authority control}}
1.-(https://www.youtube.com/watch?v=7tIrD-QcqF4) Three (original) fragments

2.-(https://www.youtube.com/watch?v=yeQjlIDC5JQ) The seven musical (original) musical numbers

3.-(https://www.youtube.com/watch?v=R8drK9vlhwQ&list=PLkbNDDkPK5O6lQmSlAxtZKGJoxFz5CQRs) The original complete zarzuela

4.-(https://www.youtube.com/watch?v=Yt_MK2ENGBE) The first recording, 1917

5.-(https://www.youtube.com/watch?v=uJI3D8U9clQ) Original version for piano, recorded 1933

Images

1.-(https://plus.google.com/photos/112548598961586504167/albums/5974161506696646561) Scans of the original score by Daniel Alomía Robles

2.-(https://plus.google.com/photos/112548598961586504167/albums/5972295198266902673) Scans of the original libretto (republished in 2013)

3.-(https://plus.google.com/photos/112548598961586504167/albums/5983027948222053617) Scans of the reconstructed score

4.-(https://plus.google.com/photos/112548598961586504167/albums/5990868152577522497) Scan of an adapted score where Jorge Milchberg appears as co-author of the music


{{DEFAULTSORT:Alomia Robles, Daniel}}
{{DEFAULTSORT:Alomia Robles, Daniel}}
[[Category:1871 births]]
[[Category:1942 deaths]]
[[Category:20th-century classical composers]]
[[Category:20th-century classical composers]]
[[Category:Opera composers]]
[[Category:20th-century male musicians]]
[[Category:Peruvian ethnomusicologists]]
[[Category:Male opera composers]]
[[Category:Peruvian composers]]
[[Category:Peruvian composers]]
[[Category:Male composers]]
[[Category:Peruvian male composers]]
[[Category:Peruvian expatriates in Argentina]]
[[Category:Peruvian expatriates in Bolivia]]
[[Category:Peruvian expatriates in Ecuador]]
[[Category:Peruvian expatriates in the United States]]
[[Category:Peruvian opera composers]]
[[Category:Peruvian people of French descent]]
[[Category:Peruvian people of French descent]]
[[Category:Ethnomusicologists]]
[[Category:People from Huánuco]]
[[Category:1871 births]]
[[Category:Robles family|Daniel]]
[[Category:1942 deaths]]
[[Category:Deaths from sepsis]]
[[Category:Male classical composers]]
[[Category:Infectious disease deaths in Peru]]

Latest revision as of 05:07, 11 April 2024

Alomía Robles c. 1936

Daniel Alomía Robles (3 January 1871 – 17 July 1942) was a Peruvian composer and ethnomusicologist. He is best known for composing the song "El Cóndor Pasa" in 1913 as part of a zarzuela — a musical play that alternates between spoken and sung parts — of the same name. This song was based on Andean folk songs and is possibly the best known Peruvian song, partly due to the worldwide success that the melody obtained when it was used by Simon & Garfunkel as their music for "El Cóndor Pasa (If I Could)", although that song has different lyrics.

Early life

[edit]

Daniel Alomía Robles was born in Huánuco, Peru, on January 3, 1871[1] to Micaela Robles[2] and Marcial Alomía, a French immigrant.[3]

Alomía Robles said in an interview in 1942 that his first exposure to music was when he was six years old when his mother took him to hear mass in Huánuco, and he began to sing along with the chorus.[4] Alomía Robles said that he had a good ear and could reproduce any sound that he heard and that he took special pleasure as a child in singing the indigenous songs of Peru.[4]

Musical education

[edit]

Alomía Robles attended primary school at La Mineria in Huánuco and moved with his family to Lima, Peru in 1882.[1][5] It was while living with an uncle in Lima at the age of 12 that Alomía Robles first heard musical theatre.[4]

Lima in the early 20th-century was filled with musical theatre, and many well known musicians made their home in Lima.[4] Alomía Robles discovered that the theatre needed extras in the chorus line and offered himself so he could hear the music for free and learn the operettas of that period.[4]

In Lima, Alomía Robles studied at the college Nuestra Señora de Guadalupe.[1] Alomía Robles' early interest in music was encouraged there by his teachers Manuel De la Cruz Panizo and Claudio Rebagliatti.[1] Alomía Robles says that Rebagliatti took him under his wing and offered to teach him music if Alomía Robles would help o Rebagliatti in his concerts.[4]

In 1892, Alomía Robles decided to study medicine at University of San Marcos.[1][5] In his third year he traveled with other students to the Amazon jungle regions where he met Catholic missionary Gabriel Sala, who came to influence Alomía Robles' life in music.[2] Sala had created a city in the Amazon jungle region with 400 men and women who he taught to work in the fields and build their houses.[6] Sala said to his people that it was not good to work without resting. So every Sunday at 2:00 PM he brought the people together to sing and dance.[6]

Alomía Robles decided to leave the University in 1894 and dedicate his life to music.[1][5] Alomía Robles' family, who had encouraged him to study medicine, were against this change of direction.[4]

Musical travels in South America

[edit]

Alomía Robles traveled throughout Peru compiling the stories and myths of the folk music of the Amazon jungle regions and the mountains of the Andes. He continued his collections of versions of the songs from the most remote villages of Peru.[1] Alomía Robles also traveled to Bolivia and Ecuador during this period.[1]

It was during this period that Alomía Robles was appointed to the posts of Subperfecto and Justice of the Peace in Jauja and later mayor of Huacho.[5]

In February 1897, Alomía Robles married Sebastiana Godoy Agostini, a Cuban pianist known as "Chana" whom he had met while he was living in Jauja.[7][8] His wife supported him during his travels in South America.[8] In an interview in 1942 with Esteban Pavletich Trujillo, Alomía Robles credited his wife as the impetus for creating his first musical works.[4]

In 1910, Alomía Robles published his discovery that the musical structure of Andean music involved a Pentatonic scale.[1] In 1911, Alomía Robles traveled to Argentina for the performance of his first opera Illa Cori that told the story of the Inca ruler Huayna Cápac and his conquest of Quito.

Marcela Robles, granddaughter of Alomía Robles, writes that in a time when the musical folklore of Peru was ignored or looked down on, Alomía Robles was a pioneer in collecting the music that otherwise would have disappeared.[6]

"El Cóndor Pasa"

[edit]
Simon & Garfunkel popularized "El Cóndor Pasa (If I Could)", with new English lyrics written by Paul Simon (above)

In 1913, Daniel Alomía Robles composed "El Cóndor Pasa", and the composition was first performed publicly at the Teatro Mazzi in Lima.[1] The song was composed as part of a zarzuela (Spanish operetta) of strong social content about Peruvian miners in Cerro de Pasco and their relations with the foreign mining company.[9] Marcela Robles writes that the zarzuela contained eight parts and was performed over 3,000 times in Lima at the Teatro Mazzi.[6]

Covers and adaptations

[edit]

In 1965, the American musician Paul Simon first heard the Los Incas version in a performance at the Théâtre de l'Est Parisien (Paris), in which both Paul Simon and the band, Los Incas participated. Simon requested use of the song for a future recording, to which Jorge Milchberg, a founding member of the band, wrongly informed him it was a traditional folk melody. Jorge Milchberg further informed Paul Simon that he is registered as the co-author and the arrangement on their version and added the well-known introduction which was not part of the original melody.

In 1970, the duo Simon & Garfunkel eventually covered the Los Incas version as "El Cóndor Pasa (If I Could)" for the album Bridge Over Troubled Water, with the added English lyrics by Paul Simon. The recording which attracted international acclaim and success. As Simon had believed the song to be a traditional Andean folk melody, only his name appeared as writer of the lyrics. Daniel Alomía Robles' son, Peruvian filmmaker Armando Robles Godoy, successfully sued for royalties and even later wrote new Spanish lyrics for the song himself, using Paul Simon's version as a reference. He bore no malice towards Simon for what he considered a misunderstanding and an honest mistake on the grounds that Simon had relied on misinformation.[10]

In December 1996, the World Intellectual Property Organization (WIPO), enacted the Rights Of Performers (Moral Rights Of Performers); also known as "The Morality Treaty" into sanction. The parade and the cachua have been widely covered and spread, and in some cases, lyrics have been added (all of them should be considered apocryphal) and generally their rhythms and instrumentations have been changed.

Life in the United States

[edit]
Sebastiana Godoy de Robles, from a 1920 publication.

In 1919, Alomía Robles traveled to the United States, living in New York City for 14 years until his return to Peru in 1933.[1] He found life in the United States hard and a constant series of ups and downs even after he won third prize in a musical contest with 3,000 competitors.[4] During his time in the United States, Alomía Robles performed in concerts, recorded music, and offered talks about Peruvian music.[5]

Sebastiana Godoy Agostini traveled to New York with her husband, but died of cancer the year after her arrival.[8] Her sister, Carmela Godoy Agostini, had accompanied the couple to New York to take care of Sebastiana during her illness.[8] In 1922, two years after his wife's death, Alomía Robles married Carmela Godoy Agostini, and together they had two children, Armando and Mario.[3][8][11] Marcela Robles writes that her grandmother Carmela Godoy Agostini supported the family during the Depression in New York City by selling paper flowers while Alomía Robles sat in front of his piano pursuing his music indifferent to his surroundings.[8]

Alomía Robles' second youngest child, Armando Robles Godoy, who became a well known Peruvian film director,[10] says that in his 14 years in New York City, his father never learned to speak English.[3] He also said his father had a beautiful baritone voice and was obsessed with the number seven, only one of the mysteries that surrounded the magical world that his father lived in.[3]

The New York Times reported on July 25, 1930 that the Goldman Band led by conductor Edwin Frank Goldman had played a program of Peruvian music composed by Alomía Robles on the campus of New York University.[12] At the conclusion of the first half of the program Alomía Robles presented a bust of Mr. Goldman to the conductor.[12] Alomía Robles pointed out in a brief address that Mr. Goldman was the only American conductor who had made extensive use of Peruvian music.[12] The program included five compositions by Alomía Robles, "March Peru", "En Los Andes", "Hymn To The Sun", "Cashua" and "Fondero".[12]

According to The New York Times, "several of his compositions were based on ancient Inca melodies, furthermore the music from which "Hymn To The Sun" was arranged is estimated to be about 3,000 years old."[12]

Alomía Robles returned to Peru in 1933 after 14 years in the United States[1] and took up the post of the head of the Section of Fine Arts at the Ministry of Education in Lima, Peru.[13] His son Sebastian Tomas Robles remained in the United States and in 1933 became a staff cartoonist for the Editors Press Service in New York City and was selected by The Washington Post to sketch government personalities for the National Gallery.[11]

Musical legacy

[edit]

Alomía Robles compiled over 700 compositions of popular music of Peru[14] and according to the catalog compiled by Rodolfo Holzmann in 1943,[14] Alomía Robles composed more than 238 songs[14] including "El Indio", "Resurgimiento De Los Andes", "Amanecer Andino", "Danza Huanca" and "Alcedo Y Su Ballet".[1] In 1990, Armando Robles Godoy published a folio of his father's compositions, Himno Al Sol: La Obra Folclórica Y Musical De Daniel Alomía Robles.[10] Armando Robles Godoy said this was a labor of love. The research alone took him two years to collect the pieces with the help of Enrique Pinilla y Édgar Valcárcel.[10] In a 1940 article on the state of music in Peru, The New York Times praised Alomía Robles as having "a considerable natural talent" and for "bettering the knowledge of the folklore of his country."[15]

Personal life

[edit]
Daniel Alomía Robles, Legacy

Daniel Alomía Robles was married to Sebastiana Godoy Agostini with whom he had ten children including four sons: Jack, Felix, Ernest, and Carlos.[3][11] After Sebastiana's death from cancer, he married her sister, Carmela Godoy Agostini, with whom he had two more children: Mario and Armando.[3][8][11]

Robles died of sepsis on June 18, 1942 at Chosica, about 30 miles from Lima.[1][16]

On August 14, 1996 his remains were returned to his hometown of Huánuco where they were received by thousands of people.[2]

On December 1, 2006 the family of Alomía Robles, represented by his son Armando Robles Godoy, donated the original manuscripts of all Daniel Alomía Robles' compositions to the Catholic University Of Peru.[14] The manuscripts included the originals of “El Cóndor Pasa” and “Himno Al Sol”, and all of the “Colección Folklórica”.[14]

References

[edit]
Wikimedia Commons has media related to Daniel Alomía Robles.
  1. ^ a b c d e f g h i j k l m n "La República. ""El Cóndor Pasa" patrimonio cultural de la nación" by Pedro Escribano. April 13, 2004". Archived from the original on January 1, 2018. Retrieved August 27, 2008.
  2. ^ a b c WebHuanuco. "Daniel Alomía Robles"
  3. ^ a b c d e f "El Peruano. "El nuevo vuelo del cóndor" by Jose Vadillo Vila. January 12, 2006". Archived from the original on March 27, 2008. Retrieved August 28, 2008.
  4. ^ a b c d e f g h i Revista Peruanidad. An Interview with Daniel Alomía Robles" by Esteban Pavletich Trujillo. July 1942 N° 8, Vol. II
  5. ^ a b c d e "Consejo Nacional de Ciencia, Tecnología e Innovación Tecnologógica. "Alomía Robles"". Archived from the original on 2008-03-21. Retrieved 2008-08-27.
  6. ^ a b c d Apuntes. Historia de Huanuco, Revista antológica N° 4, ago. 2000, pp. 15-23 "Daniel Alomía Robles en primera persona".
  7. ^ Criollos Peruanos. "Daniel Alomía Robles"
  8. ^ a b c d e f g El Comercio. "Ella Me Lo Cuenta Todo" by Marcela Robles. July 15, 2007.
  9. ^ "Baltimore Symphony. "The Inca Trail" 2008". Archived from the original on 2008-09-29. Retrieved 2008-08-28.
  10. ^ a b c d Juan Carlos Bondy (July 6, 2008). "El cine, los libros, la muerte (an interview with Armando Robles Godoy)" (PDF). Diario la Primera (in Spanish). Archived from the original (PDF) on July 10, 2011. Retrieved 2011-07-10.
  11. ^ a b c d New York Times. "Sebastian T. Robles, Cartoonist, was 57" August 31, 1959.
  12. ^ a b c d e New York Times. "Goldman Band Plays Compositions of Scultprot Robles, Who Presents a Bust to Conductor. July 25, 1930.
  13. ^ Latin America Online. ""El Cóndor Pasa" declarada Patrimonio Cultural de Perú"
  14. ^ a b c d e Cantera de Sonidos. "Donación de manuscritos musicales de Daniel Alomía Robles" December 1, 2006
  15. ^ New York Times. "The State of Music in Peru" by Francisco Curt Lange. July 14, 1940.
  16. ^ "Filarmonika. "Latin American Composers" 2006". Archived from the original on 2008-09-29. Retrieved 2008-08-28.
  • Varallanos, José. (1988). "El cóndor pasa. Vida y obra de Daniel Alomía Robles". Talleres Gráficos P.I. Villanueva. S.A. subject to law 13714. First edition, November 1988. Lima-Perú.
  • Colectivo Cultural Centenario El Cóndor Pasa, ed. (2013). El cóndor pasa…Cien años después. Lima. ISBN 9786124647208. Registered in the National Library of Peru.
  • Salazar Mejía, Luis (2013). El misterio del cóndor: Memoria e historia de "El cóndor pasa…". Lima: Taky Onqoy Ediciones. ISBN 9786124660504. Registered in the National Library of Peru.
  • Cerrón Fetta Mario, (2014). Cuadernos de Música Peruana Nº 12. Lima.Editorial/ Cuadernos de Música. Register: Legal deposit Nº2008-06894. Registered in the National Library of Peru.
[edit]
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