|Andrés Steinfort Mulsow|
|Birth|| 1883 |
Santiago de Chile ( Chile )
|Death|| July 19 , 1949 |
Santiago de Chile (Chile)
|Educated in||National Conservatory of Music|
|Occupation||Composer , music theorist and pedagogue|
He began his musical training in a self-taught way. He entered the National Conservatory of Music in 1905 where he studied with Enrique Soro. He was an assistant in the Theory class [ 1 ] and later a professor of it and of Harmony. He was a teacher of outstanding composers, among them the Jorge Urrutia Blondel National Prize . [ 2 ] The latter succeeded him as professor of Harmony in 1931.
He excelled as a music theorist. In 1911 he developed a proposal to reform musical writing by eliminating the use of keys and thus facilitate learning to read notes at different heights. However, this proposal was not well received and did not prosper over time.
He composed about two hundred works for piano, choir, string quartet and orchestra. [ 3 ] Some of his works for piano were published in 1918 by the Casa Editora de Música Apolo and in 1927 by the Editorial Casa Amarilla. Some of these were interpreted between 1922 and 1928 within the framework of activities linked to the National Conservatory, not reaching a greater projection or subsequent circulation. Of the rest of his works there are no records of his premieres, so it is likely that they have not been made public.
He was highly praised for his pedagogical works for the teaching of music reading and harmony, which were used as official teaching texts in the National Conservatory, [ 4 ] as well as in many musical training institutions in Chile even to the present day. . His treatise Harmony (1925) , a complete manual for the learning of tonal harmony, is of great value for its simple and detailed structure, becoming a classic work within the theoretical musical production in Chile.
Since his compositions did not achieve greater recognition, his name has been omitted in the texts of the history of Chilean music. However, it has managed to survive thanks to its important pedagogical legacy that has been maintained through its teaching texts.
- ABC of Music , Editorial Casa Amarilla, Santiago de Chile, 1922.
- ABC of Music , Second Edition, Imprenta Bellavista, Santiago de Chile, 1927.
- Harmony , Editorial Casa Amarilla, Santiago de Chile, 1925.
- Lullaby (1918)
- Morning (1918)
- Baby's Dream (1918)
- Variations (1927)
- Chopin (1927)
- Elegy (1927)
- Long (1927)
- Funeral march (1927)
- Sandoval, L. (1911).
- Urrutia Blondel, J (1977).
- Uzcategui, E. (1919).
- Regulations and study plans of the National Conservatory of Music . 1923. p. 22 and 25.
- Casares, Emilio (ed.). 1999. Dictionary of Spanish and Latin American music. Volume 10, p. 65. Madrid: SGAE, INAEM, ICCMU.
- National Conservatory (1923). Regulations and Study Plans of the National Conservatory of Music . Santiago: Lagunas & Co.
- Furman Schleifer, Martha y Galván, Gary (2016). Latin American Classical Composers. Rowman & Littlefield Publishers. P. 599.
- Merino, Luis (2014) Music in Chile between 1887 and 1928: Composers who survived after 1928, composers in the shadows, forgotten composers. NEUMA Magazine , Year 7, Volume 2. Pp. 32 - 79.
- Moreno, Juan Pablo (2019). Reflections on oblivion: The case of Andrés Steinfort Mulsow . Column " Approach " SIMUC, 09/15/2019. Retrieved September 17, 2019.
- Sandoval, Luis (1911). Historical Review of the National Conservatory of Music and Declamation from 1849 to 1911 . Santiago: Gutenberg Printing House.
- Urrutia Blondel, Jorge (1977). Essay of an autobiographical synthesis Revista Musical Chilena, 31 (138), pp. 5-16.
- Uzcategui, E. (1919). Contemporary Chilean musicians . Santiago: America . Retrieved April 21, 2019 .