{"id":29196,"date":"2025-09-12T09:31:18","date_gmt":"2025-09-12T07:31:18","guid":{"rendered":"https:\/\/educationalevidence.com\/?p=29196"},"modified":"2025-09-15T08:55:22","modified_gmt":"2025-09-15T06:55:22","slug":"oreste-camarcas-quartet-and-sextet-1895-1992-and-the-musical-legacy-of-the-motu-proprio","status":"publish","type":"post","link":"https:\/\/educationalevidence.com\/en\/oreste-camarcas-quartet-and-sextet-1895-1992-and-the-musical-legacy-of-the-motu-proprio\/","title":{"rendered":"Oreste Camarca\u2019s quartet and sextet (1895\u20131992) and the musical legacy of the Motu proprio"},"content":{"rendered":"

Oreste Camarca\u2019s quartet and sextet (1895\u20131992) and the musical legacy of the Motu proprio<\/em><\/h1>\n
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Oreste Camarca, foto propiedad Familia Ormaz\u00e1bal, p\u00e1gina web del Conservatorio Profesional ‘Oreste Camarca’<\/figcaption><\/figure>\n

License Creative Commons <\/a><\/p>\n

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Jos\u00e9 del Rinc\u00f3n<\/strong><\/a><\/p>\n

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Oreste Camarca<\/strong> was an Italian-born musician, born in 1895 at Ascoli Satriano in the province of Foggia, who lived in Soria from 1925 until his death in 1992. Educated principally in C\u00e1diz, he established himself in the modest Castilian city as a private tutor in piano and solf\u00e8ge. He also taught Italian, directed several choirs, and produced a relatively modest output as a composer. Admired by successive generations of Sorian residents for his pedagogical skill, his patience and kindness, he was known for his humble, reserved and prudent demeanour.<\/p>\n

The Granadan composer and priest Juan Alfonso Garc\u00eda<\/strong> used the term Motu proprio<\/em><\/strong> to denote a group of Spanish composers\u2014all clerics\u2014who throughout much of the twentieth century composed works with the aim of dignifying sacred music in their era (even though the majority also composed secular works), in adherence to the directives of the Motu Proprio<\/em> [1] decrees promulgated by Pope Pius\u202fX<\/strong> in 1903 and 1904 under the influence of the Italian composer\u2011priest Lorenzo Perosi<\/strong> (1872\u20131956). Perosi\u2019s pedagogical influence \u201cwas felt throughout the world\u201d (Tom\u00e1s Marco, 1983: 104), albeit \u201cdebatable\u201d according to Marco; Garc\u00eda (also cited by Marco) asserts: \u201cHis influence on Catholic sacred music was immense and Spain was no exception\u201d (Marco, 1983: 104). William W. Austin<\/strong>, generally more favourable towards Perosi, emphasises that \u201cHis Masses and other liturgical compositions were performed extensively throughout the world within the Institution for which they were created\u201d (Austin, 1984: 169).<\/p>\n

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The Works<\/strong><\/p>\n

On 14 June 1934, two works by Oreste Camarca received their premieres at the C\u00edrculo de Bellas Artes in Madrid: the Quartet for strings with choir in F\u2011minor, Op.\u202f1, and the Sextet for strings with choir in B\u2011minor, Op.\u202f2. The instrumental parts were performed by six soloists under the leadership of concertmaster Rafael Mart\u00ednez<\/strong> of the Madrid Philharmonic Orchestra, while the vocal parts were sung by selected members of the Masa Coral<\/em> directed by Rafael Benedito <\/strong>(Garc\u00eda Redondo, 1986: 86; Delgado Encabo, 2006: 6). The Quartet follows the standard string grouping of two violins, viola and cello, while the Sextet is scored for two violins, two violas and two cellos. Both the instrumental ensemble and the dates of composition (the Sextet written between 1925 and 1927; the Quartet in 1927; Delgado Encabo, 2006: 6) suggest that Camarca may have composed them expressly for submission to the International Chamber Music Composition Competition organised by The Music Fund Society in Philadelphia, open from 1925 until the end of 1927. Camarca received no prize: in 1928 the first prize was shared between Bart\u00f3k<\/strong>\u2019s String Quartet No.\u202f3 and Casella\u2019s<\/strong> Serenata (Albrecht, 1980: 624). The second prize went jointly to H. Waldo Warner<\/strong>\u2019s Quartet in E\u2011minor and Carlo Jachino\u2019s Quintet. All the award-winning works were composed in 1927. No third prize or honourable mention was awarded (University of Pennsylvania, undated).<\/p>\n

I have located four reviews of the premieres. Two were appreciative: by Jos\u00e9 Subir\u00e1<\/strong> in El Socialista<\/em> (Subir\u00e1, 1934: 4) and an anonymous notice in ABC <\/em>(<\/em>1934: 47). The other two may be termed politely negative: by Joaqu\u00edn Turina<\/strong> in El Debate <\/em>(Turina, 1934: 6) and Julio G\u00f3mez<\/strong> in El Liberal <\/em>(G\u00f3mez, 1934: 2). Three of the critics note that the audience at the premiere was not large; Turina does not comment on the size of the gathering.<\/p>\n

The Sextet with Choir in B Minor, Op. 2., subtitled Nei dintorni di San Juan de Duero<\/em> (\u201cIn the environs of San Juan de Duero\u201d\u2014referring to the remains of a medieval monastery near Soria), unfolds in four movements: Prelude: Assai lento<\/em>; Andante; Allegro moderato<\/em>; and Lento, as a tempo making. The movement count is typical of nineteenth\u2011century practice and of early twentieth\u2011century composers outside avant\u2011garde strands, although the predominance of slower tempi throughout is more marked than is customary.<\/p>\n

The Quartet with Choir in F Minor, Op. 1, composed \u201cIn comemorazione del centenario della morte di Beethoven\u201d<\/em>\u00a0likewise comprises four movements (numbered with Roman numerals, like in the Sextet), preceded by an unnumbered Introduzione: quasi adagio<\/em>. The numbered movements are: I. Allegro molto moderato<\/em>; II. Andante<\/em>; III. Vivace<\/em>; IV. Allegro con fuoco<\/em> followed by Finale: quasi adagio<\/em>. Though begun after the Sextet, the Quartet was completed first and adheres more to classical fast\u2011slow movement distribution.<\/p>\n

In the Sextet, the first choral section (Ave Maria<\/em>) appears twice in the first movement: initially a cappella, later joined by the six string players (Camarca, 1997: bar 107). A second vocal section, featuring the same Ave Mar\u00eda text but set to different music, appears after the fourth movement has begun. In between, there is a brief quotation of the Ave Mar\u00eda theme from the first movement, now presented with a homophonic rather than contrapuntal texture and using the words Sancta Maria<\/em> instead of Ave Mar\u00eda<\/em>. The vocal section continues until the end of the movement. In this fourth movement, the choir never sings a cappella<\/em> and is always accompanied by the strings.<\/p>\n

In the Quartet, the inaugural choral entry\u2014 a concise Gloria<\/em> in homophonic texture\u2014a cappella, occurs after the midpoint of the first movement (around 10\u203201\u2033 to 11\u203208\u2033). In the closing movement the chorus assumes greater prominence in the Finale: quasi adagio<\/em>. Vocal sections\u2014sometimes a cappella, sometimes accompanied, sometimes repeating the earlier Gloria motif, sometimes presenting new thematic material\u2014alternate with purely instrumental passages from ca. 15\u203232\u2033 to the work\u2019s conclusion.<\/p>\n

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Style<\/strong><\/p>\n

These works profess a highly conservative aesthetic. The incorporation of choir and the abundance of slow movements in the Sextet are almost the sole departures from convention. For instance, at 1\u203229\u2033 of the Quartet\u2019s final movement one hears the sole chromatic scale across both pieces, otherwise overwhelmingly diatonic in language.<\/p>\n

The Sextet is, per se, a better and more cohesive work than the Quartet<\/em>, regardless of the fact that the revision of the Sextet<\/em> by Jes\u00fas \u00c1ngel Le\u00f3n\u2014which removes the repetitions [2]\u2014makes the difference in quality appear even greater. The movements of both works are very long. The Sextet<\/em> is a piece in which the string writing is rather unspecific and quite abstract; Camarca writes for the strings in a style not very different from that used for the voices. Despite this, it remains a better work than the Quartet<\/em>, in which the composer does manage to write the instrumental parts in a more idiomatic, more quartet-like style.<\/p>\n

Vocal writing fits more organically within the Sextet\u2019s instrumental fabric than in the Quartet. The slow vocal sections in the Sextet\u2014the Ave Maria, Sancta Maria\u2014are inserted within equally slow movements; conversely, the Quartet\u2019s Gloria\u2014less effective in itself\u2014 is book\u2011ended by fast, ternary\u2011barred, major-mode passages evocative of a minuet, which bear little relation to the choral material. The fourth movement of the Quartet is better resolved structurally\u2014the vocal passages are longer, conclude both the movement and the whole work, and blend more convincingly with the Allegro con fuoco<\/em> opening than do the faster passages in the first movement.<\/p>\n

As previously mentioned, Camarca would go on to direct several choirs; this may have something to do with the fact that I find the choral sections superior to the instrumental ones. The vocal parts are not only more effectively written for choir than the instrumental parts are for strings, but they are also more inspired. Although not always, Camarca tends to compose better when the tempo is slow and the mode is minor (with a more sombre sound) than when the rhythm is fast and the mode is major (with a brighter sound).<\/p>\n

Jorge Jim\u00e9nez Lafuente<\/strong> remarked of Camarca the composer of the Sextet that \u201chis music seems to verge on the imminent musical Neoclassicism\u201d. That characterisation errs by \u201cimminent\u201d: Neoclassicism, typically associated with the interwar years, had already been in full flower for several years\u2014Stravinsky\u2019s Pulcinella<\/em> (1920) being the foundational work. Jim\u00e9nez qualifies: \u201cwe do not dare to label him within that movement\u201d (Jim\u00e9nez Lafuente, 1997: 19).<\/p>\n

Elsewhere Jim\u00e9nez observes: \u201cWe might imagine ourselves holding a Renaissance manuscript, in which clarity of writing, homophony among voices and light contrapuntal treatment seem habitual (\u2026) The choral text is liturgical, which may lead us to think of a certain stile antico inspiration in the score\u201d (Jim\u00e9nez Lafuente, 1997: 18-19). I concur: the Ave Maria in the Sextet is crafted in quasi\u2011Renaissance counterpoint. And recall that Palestrina and Lassus are among the influences Lorenzo Perosi absorbed in his liturgical works (Austin, 1984: 169). The Gloria<\/em> of the quartet is somewhat reminiscent\u2014due to its homophonic texture\u2014of a chorale by Johann Sebastian Bach, although traces of nineteenth-century Italian operatic style also emerge.<\/p>\n

The anonymous ABC<\/em> critic spoke of the Quartet\u2019s \u201cpurest classicism\u201d and \u201ca tendency towards romanticism, in certain passages of the most legitimate Mendelssohnian school\u201d (ABC<\/em>, 1934: 47). Jes\u00fas \u00c1ngel Le\u00f3n described it with exemplary prose as an \u201cadmirable Quartet, full of Beethovenian resonance\u201d (Le\u00f3n, 2006: 12). I myself noted, in relation to the third movement of Sinfonia Spagna [3]<\/em>, that \u201cits orchestration and harmony (\u2026) are almost those of early Romanticism: in its scherzi, for instance, one hears echoes of Beethoven\u201d (Rinc\u00f3n, 1995: 14).<\/p>\n

Among the influences of such an eclectic composer as Lorenzo Perosi, William A. Austin highlights\u2014not only those already mentioned, Palestrina and Lasso\u2014but also Bach, Rossini, Weber, Schubert, and Liszt<\/strong> (Austin, 1984: 169). Two of the most important composers of the second half of the sixteenth century, arguably the greatest composer of the late Baroque, three early Romantics, and one from the high Romantic period. All of this aligns with what we have said about the two works under discussion.<\/p>\n

When Jim\u00e9nez Lafuente declines to label Camarca\u2019s Sextet as Neoclassical, I would add that Camarca\u2014a devout layman with close ties to members of the Daughters of Charity and successive generations of canons\u2014seems more deeply influenced by Lorenzo Perosi or by a Spanish composer associated with the generation of the Motu proprio<\/em>.<\/p>\n

As Tom\u00e1s Marco states of these composers:<\/p>\n

\u201cThroughout Spain, especially in the leading religious and devotional centres, a considerable effort to dignify sacred music developed, involving virtually all composers working in this genre. But it would be pointless here to list all the minor composers, whose works did not circulate widely at the time and remained confined to the locales in which they served\u201d (Marco, 1983: 110).<\/p>\n

The principal composer\u2011teacher in C\u00e1diz of Oreste Camarca was Jos\u00e9 Mar\u00eda G\u00e1lvez Ruiz<\/strong> (1874\u20131939), one such \u2018minor\u2019 Motu proprio<\/em> composer in Marco<\/strong>\u2019s reckoning. Although Juan Jos\u00e9 Espinosa Guerra\u2019s biographical survey does not highlight G\u00e1lvez\u2019s connection to the movement, it does catalogue his life and oeuvre: G\u00e1lvez was a priest, organist, and ma\u00eetre de chapelle of the C\u00e1diz Cathedral, and director of the Royal Academy of Santa Cecilia in C\u00e1diz (Espinosa Guerra, 1999: 360) teaching organ, harmony and composition, subjects in which Camarca excelled as his pupil, as in all the other subjects.<\/p>\n

Notably, the rhythm of the first five notes of G\u00e1lvez\u2019s Ave Mar\u00eda<\/em> for three treble voices is identical to that of the opening motif in Camarca\u2019s Ave Mar\u00eda<\/em> from the Sextet<\/em>, which gives rise to the most accomplished movement of the two works under study; just five rhythmic figures\u2014if we consider rhythm alone\u2014may suggest an influence or merely a coincidence (Camarca, 1997: bar 107; G\u00e1lvez, 2013, minute 00:06).<\/p>\n

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Figure 1:<\/strong> First five notes of the Ave Mar\u00eda<\/em> for three treble voices by G\u00e1lvez, of the Ave Mar\u00eda<\/em> from Camarca\u2019s Sextet<\/em>, and the rhythm common to these two opening motifs.<\/figcaption><\/figure>\n

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In both the Quartet and Sextet, the choral numbers evoke many of Perosi\u2019s Mass movements performed ad infinitum in Italian and Spanish churches during Camarca\u2019s lifetime. Camarca later directed a choir at the Colegio Sagrado Coraz\u00f3n<\/em> in Soria, whose repertoire included at least one Perosi Mass. A manuscript of a Tantum Ergo<\/em> for three voices and low organ (Fa bordon) by Perosi, expressly dedicated to the collegiate church of Soria (dated 5 April 1927) survives (S\u00e1nchez Siscart y Gonzalo L\u00f3pez, 1992: 298); in the Musical Archives of Soria\u2019s co\u2011cathedral of San Pedro there are six printed Perosi works, five of them Masses, alongside Camarca\u2019s religious compositions (S\u00e1nchez Siscart<\/strong>\u00a0y\u00a0Gonzalo L\u00f3pez<\/strong>, 1992: 347-348).<\/p>\n

By contrast, it is unlikely that Camarca was familiar with Perosi\u2019s string trios and quartets, which bear little resemblance to the instrumental sections of Camarca\u2019s Quartet<\/em> and Sextet<\/em>, even though both sets of works remain within a similar tonal framework. Whether in his masses or his chamber music, the melodies of the composer from Tortona are more readily recognisable, and the structure of his movements more clearly defined, than in the two aforementioned works by the musician from Ascoli Satriano<\/strong>.<\/p>\n

Camarca completed his composition studies with Jos\u00e9 Mar\u00eda G\u00e1lvez in 1924; just a year later, in 1925, he began composing the Sextet<\/em>, and in 1927, the Quartet<\/em>. The Italo-Sorian composer developed his own style from the foundations provided by G\u00e1lvez, the music he had listened to, and the scores he may have studied up to that point.<\/p>\n

Tom\u00e1s Marco, who uses the term \u2018generation\u2019 to refer to the group of Spanish composers often brought together under the umbrella of the Motu proprio<\/em>, states: \u201cIt will also have been noted that, by birth chronology, we have grouped together several generations\u201d (Marco, 1983: 110). The first composer he mentions is Arturo Saco del Valle (1869\u20131932), who was older than Jos\u00e9 Mar\u00eda G\u00e1lvez; the penultimate is Valent\u00edn Ruiz Aznar (1902\u20131972), who was younger than Camarca (Marco, 1983: 105\u2013110).<\/p>\n

In terms of age, Camarca could be considered part of this Motu proprio<\/em> \u2018generation\u2019, but several factors prevent us from including him within it: firstly, however devout he may have been, he was a layman. Secondly, his religious works represent a minor part of his output.[4] Lastly, the Quartet<\/em> and the Sextet<\/em> are not sacred music, despite the sacred nature of their vocal texts. Nevertheless, the influence of the Spanish composers of the Motu proprio<\/em> on the two works under discussion is undeniable \u2014 as is, more demonstrably, the influence of the masses composed by his mentor, Lorenzo Perosi.<\/p>\n

___<\/p>\n

[1]<\/strong> The words Motu proprio<\/em> refer to a type of papal document distinct from encyclicals or apostolic exhortations. It is noteworthy that this generic designation has given its name, in music, to the specific motu proprio on sacred music.<\/p>\n

[2]<\/strong> Jes\u00fas \u00c1ngel Le\u00f3n\u2019s revision of Camarca\u2019s Sextet removes repetitions, corrects some errors, and transcribes the sextet parts for chamber orchestra. In the 2006 recording of the two works discussed here, conducted by David Guindano and Diego Gil Arbizu, Le\u00f3n\u2019s revision of the Sextet is used, but with the original instrumentation for six instruments.<\/p>\n

[3]<\/strong> The third movement of Camarca\u2019s Sinfonia Spagna<\/em> is titled only with a tempo indication and is influenced both by Beethovenian scherzi<\/em> and by flamenco zapateados. Camarca had a deep affection for Andalusia, especially Seville.<\/p>\n

[4]<\/strong> Examples of these shorter works include the Himno a San Saturio, the two Gozos dedicated to San Saturio (Gloria a ti, Saturio penitente and Venturosos Numantinos<\/em>), the motet Al gran numantino<\/em>, two motets entitled Con himnos jubilantes<\/em>, an Ave Mar\u00eda<\/em> for choir, organ, and string quartet, and the Himno del Colegio del Sagrado Coraz\u00f3n de Jes\u00fas<\/em> (S\u00e1nchez Siscart and Gonzalo L\u00f3pez, 1992, 133\u2013135; Delgado Encabo, 2006: 6\u20137). It is unclear whether this Ave Mar\u00eda<\/em> is a separate work or an arrangement of the Ave Mar\u00eda from the Sextet; what is known is that Camarca adapted the latter for white voices choir and that it was performed by the choir of the \u2018Sagrado Coraz\u00f3n\u2019 School in Soria.<\/p>\n

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Bibliography:<\/strong><\/h6>\n

Printed sources<\/strong><\/p>\n

ALBRECHT, Otto E. (1980). \u201cPhiladelphia.\u201d In SADIE, Stanley (ed.), The New Grove Dictionary of Music and Musicians<\/em>, London, Macmillan, vol. 14, pp. 621\u2013625.<\/p>\n

AUSTIN, William W. (1984). La m\u00fasica en el siglo XX<\/em>, vol. I, Madrid, Taurus, pp. 168\u2013169.<\/p>\n

DELGADO ENCABO, Javier (2006). \u201cOreste Camarca: resumen biogr\u00e1fico.\u201d In the booklet accompanying the album Oreste Camarca: monogr\u00e1fico de la obra de C\u00e1mara por el Suggia Ensemble y la Coral de C\u00e1mara de Pamplona<\/em>, Madrid, Banco de Sonido BS 061 CD, pp. 5\u20139.<\/p>\n

ESPINOSA GUERRA, Juan Jos\u00e9 (1999). \u201cG\u00e1lvez Ruiz, Jos\u00e9 Mar\u00eda.\u201d In CASARES RODICIO, Emilio (dir.), Diccionario de la M\u00fasica Espa\u00f1ola e Hispanoamericana<\/em>, vol. 5, Madrid, Sociedad General de Autores y Editores, p. 360.<\/p>\n

GARC\u00cdA REDONDO, Francisca (1983). La m\u00fasica en Soria<\/em>, Soria, self-published, pp. 85\u201388.<\/p>\n

JIM\u00c9NEZ LAFUENTE, Jorge (1997). \u201cO. Camarca: Sexteto con coro, op. 2 (1927).\u201d Programme notes for the 5th edition of Oto\u00f1o Musical Soriano<\/em>, Soria, Ayuntamiento, pp. 18\u201319.<\/p>\n

LE\u00d3N, Jes\u00fas \u00c1ngel (2006). Untitled commentary in the booklet accompanying the album Oreste Camarca: monogr\u00e1fico de la obra de C\u00e1mara por el Suggia Ensemble y la Coral de C\u00e1mara de Pamplona<\/em>, Madrid, Banco de Sonido BS 061 CD, pp. 11\u201312.<\/p>\n

MARCO, Tom\u00e1s (1983). Historia de la m\u00fasica espa\u00f1ola 6. Siglo XX<\/em>, Madrid, Alianza Editorial, pp. 103\u2013112.<\/p>\n

RINC\u00d3N, Jos\u00e9 del (1995). \u201cOreste Camarca (1895\u20131992), Scherzo de la Sinfon\u00eda en la menor.\u201d Programme notes for the 3rd edition of Oto\u00f1o Musical Soriano<\/em>, Soria, Ayuntamiento, p. 14.<\/p>\n

S\u00c1NCHEZ SISCART, M.\u00aa Montserrat & GONZALO L\u00d3PEZ, Jes\u00fas (1992). Cat\u00e1logo del Archivo Musical de la Concatedral de San Pedro Ap\u00f3stol de Soria<\/em>, Soria, Caja Salamanca y Soria, pp. 133\u2013135.<\/p>\n

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Websites<\/strong><\/p>\n

University of Pennsylvania, sin fecha,\u00a0Philadelphia Area Archives, Kislak Center for specials Collections and rare books anda manuscripts, Musical Fund Society of Philadelphia records<\/em>,\u00a0https:\/\/findingaids.library.upenn.edu\/records\/UPENN_RBML_PUSP.MS.COLL.90<\/a><\/p>\n

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Newspapers available in digital archives<\/strong>\u00a0<\/strong><\/p>\n

Anonimous, 1934, \u00abInformaciones musicales: Oreste Camarca, in the C\u00edrculo de Bellas Artes\u00bb,\u00a0ABC<\/em>, 15 june, p. 47, available at:<\/p>\n

https:\/\/hemerotecadigital.bne.es\/hd\/es\/results?o=&w=%22oreste+camarca%22&f=text&o=o&w=&f=text&o=n&w=&f=text&o=&w=&f=text&o=o&w=&f=text&o=n&w=&f=text&p=0%7E0%7E0%7E0&g=p&g=o&d=date&d=1934-06-01&d=1934-06-30&l=10&t=date-asc&g=e&x=&upload<\/a>=<\/p>\n

G\u00f3mez, Julio, 1934, \u201cDe m\u00fasica: Oreste Camarca de Blasio\u201d,\u00a0El Liberal<\/em>, n\u00ba 19838, 22 june, p. 2, available at:<\/p>\n

https:\/\/hemerotecadigital.bne.es\/hd\/es\/viewer?id=a5799900-58a0-461b-8e94-4fe625b9140a&page=2<\/a><\/p>\n

SUBIR\u00c1, Jos\u00e9, 1934, \u201cEcos filarm\u00f3nicos: Evocaci\u00f3n hist\u00f3rico-musical. Recitales y conciertos\u201d,\u00a0El Socialista<\/em>\u00a0n.\u00ba 7915, 17 june, p. 4, available at:<\/p>\n

https:\/\/fpabloiglesias.es\/wp-content\/uploads\/hemeroteca\/ElSocialista\/1934\/6-1934\/7915.pdf<\/a><\/p>\n

TURINA, Joaqu\u00edn, 1934, \u201cConcierto de Camarca\u201d,\u00a0El Debate,<\/em>\u00a07658, 15 june, p. 6, available at:<\/p>\n

https:\/\/prensahistorica.mcu.es\/es\/catalogo_imagenes\/grupo.do?path=2001110781&interno=S<\/a><\/p>\n

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Scores, recordings and music distributed via online platforms<\/strong><\/p>\n

CAMARCA, Oreste (1997). Sexteto de cuerda con coro, op. 2 (1927)<\/em>, ed. Jes\u00fas \u00c1ngel Le\u00f3n. [Unpublished score.]<\/p>\n

CAMARCA, Oreste (2006). Oreste Camarca: monogr\u00e1fico de la obra de C\u00e1mara<\/em>, Coral de C\u00e1mara de Pamplona and Suggia Ensemble, conducted by David Guindano, Madrid, Banco de Sonido BS 061 CD. [Compact disc.]<\/p>\n

G\u00c1LVEZ, Jos\u00e9 Mar\u00eda (2013). Ave Mar\u00eda (a tres voces blancas)<\/em>, Conjunto Vocal Virelay, conducted by Jorge E. Garc\u00eda Ortega. Available at:
\nhttps:\/\/youtu.be\/Im0yVgCWvEU?feature=shared<\/a><\/p>\n

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Source:\u00a0educational EVIDENCE<\/strong><\/p>\n

Rights:\u00a0Creative Commons<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Oreste Camarca\u2019s quartet and sextet (1895\u20131992) and the musical legacy of the Motu proprio License Creative Commons   Jos\u00e9 del Rinc\u00f3n   Oreste Camarca was an Italian-born musician, born in 1895 at Ascoli Satriano in the province of Foggia, who lived in Soria from 1925 until his death in 1992. Educated principally in C\u00e1diz, he […]<\/p>\n","protected":false},"author":4,"featured_media":29201,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_FSMCFIC_featured_image_caption":"","_FSMCFIC_featured_image_nocaption":"1","_FSMCFIC_featured_image_hide":"","footnotes":""},"categories":[268],"tags":[3259,3258],"class_list":["post-29196","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-humanities","tag-motu-proprio-en","tag-oreste-camarca-en"],"yoast_head":"\nOreste Camarca\u2019s quartet and sextet (1895\u20131992) and the musical legacy of the Motu proprio - Educational Evidence<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/educationalevidence.com\/en\/oreste-camarcas-quartet-and-sextet-1895-1992-and-the-musical-legacy-of-the-motu-proprio\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Oreste Camarca\u2019s quartet and sextet (1895\u20131992) and the musical legacy of the Motu proprio - Educational Evidence\" \/>\n<meta property=\"og:description\" content=\"Oreste Camarca\u2019s quartet and sextet (1895\u20131992) and the musical legacy of the Motu proprio License Creative Commons   Jos\u00e9 del Rinc\u00f3n   Oreste Camarca was an Italian-born musician, born in 1895 at Ascoli Satriano in the province of Foggia, who lived in Soria from 1925 until his death in 1992. 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