School of Music
Indiana University

 

 
 

 Who's who at the LAMC

Juan Orrego-Salas

Founder
First Director (1961-1987)

Juan Orrego-Salas

Catalog of Compositions
Discography
Bibliography
Writings on the composers and his works

Juan Orrego-Salas is an important figure in the history of contemporary Latin American music. He has contributed as a musician to diverse areas of music, especially as a composer and musicologist, In addition he has performed duties in the scholarly and administrative fields, including those of being one of  the founders of the Escuela Moderna de Musica, the creator and first director of the Department of Music of the Catholic University, in Chile, as of  the Latin American Music Center, of Indiana University in United States..

Orrego-Salas was born in Santiago, Chile, in January 18, 1919. He initiated his basic general education and  training as a musician in his native city, later studying and obtaining his diploma in architecture, in 1943. By that time he had completed his undergraduate work in composition, with P.Humberto Allende and Domingo Santa Cruz, was teaching History and Literature of Music at the State Universidad of Chile and conducting the Catholic University Choir, which he had established in 1938. In 1944 he abandoned his work as an architect to dedicate his full time to music.

This period in his life started with a two year residence in the United States, first as a Rockefeller Foundation grantee, and following, as a Guggenheim Foundation Fellow. He then studied composition with Aaron Copland in Tanglewood, and in the universities of Virginia and Princeton with Randall Thompson, as well as musicology with Paul Henry Lang and Georg Herzog in Columbia University.

In 1947, he returned to his professorial, - now as a full professor of the Music Faculty,-  at the University of Chile and  choral conductor at the Catholic University. In 1949 he traveled to Europe, as a guest of the British Council,  the French and Italian Governments. In this tour he conducted the world premiere performance of his Canciones Castellanas, Op. 20, selected for the XXIII Festival of the International Society of Contemporary Music (ISCM), held in Palermo and Taormina, Sicily. At his return from this trip he accepted the editorship of the Revista Musical Chilena and in 1950 he added to his duties, those of music critic of El Mercurio, Chile's leading morning paper. An uninterrupted dedication to composition resulted in continuous performances of his works in Chile and abroad, and in his receiving many commissions to write compositions for orchestra and a variety of chamber ensembles..

In 1953, the Universidad de Chile, conferred upon him the title of Profesor Extraordinario (Distinguished Professor) of composition, and the following year he returned to United States, and spent a year composing in New York, making use of a second Guggenheim Fellowship. This time he returned to his home country  to become the director of the Instituto de Extensión Musical, the organization under whose leadership the Orquesta Sinfonica de Chile, the National Ballet, and a number of choral and chamber ensembles operated. After two years in this position he resigned to become the founder and first director of the Departamento de Música (now Instituto de Musica) of the Catholic University in Santiago. He remained in this position until 1961 and after twenty year teaching as a member of the Music Faculty of the Universidad de Chile, he was granted a partial retirement, when he returned to the United States, this time to establish and direct the Latin American Music Center and teach composition at the School of Music of Indiana University, in Bloomington. After serving twenty seven years as such and from 1975 to 1980 as Chairman of the Composition Department, he retired in 1987 as “Professor Emeritus”.
As a composer he was in four occasions the winner of prizes in the Festivaesl de Musica Chilena (1948, 1950, 1952, 1998) and twice recipient of the Olga Cohen Prize (1956, 1958), in his home country, was granted the title of Doctor “Honoris Causa” by the Universidad Catolica, in1971 and named Corresponding Member of the Chilean Academy of Fine Arts  and Distinguish Professor by the Pontifical Catholic University of Valparaiso, Chile (1999).

In 1992 he received the “Premio Nacional” , the highest recognition conferred by the Chilean Government to its artist, writers, scientists and historians. In the international space the Organization of American  States in Washington D.C.  granted him in 1988 the"Gabriela Mistral Interamerican Cultural Prize." One of his frequent  returns to Chile was in November 2005 to attend the presentation of his bookEncuentros, visions y repasos”, partly his memoirs and partly a chronicle on his thoughts and ideas on music in general and reflections on his own work as a creator. He then attended a concert of two major works of his by the Orquesta Sinfónica de Chile conducted by his son Juan Felipe Orrego.

Orrego-Salas has received commissions from the Koussevitzky, Coolidge, Kindler, Wechsler, Riley, Stieren foundations, from the Lousville Orchestra, the National Symphony of Washington D.C., from the universities of Cornell, Miami, Trinity, Santa María, from the National Endowment for the Arts, the Inter American Music Council, in United States, from the Frei Foundation and the Colegio de Arquitectos in Chile, and from numerous chamber music ensembles, soloists and individuals..

As a teacher and lecturer he has appeared in many universities, colleges and cultural institutes, in Chile, United States, Argentina, Peru, Uruguay, Brazil, Colombia, Venezuela, Mexico, Great Britain, Spain, France, Italy, Russia and Yugoslavia., and participated in several international meetings.

CATALOG OF COMPOSITIONS

Music for the theater:Juventud”, op 24 (1948), ballet-thriptych based on Handel's "Solomon"; “Umbral de Sueño”, op 30, (1951) ballet,;”The Tumbler's Prayer” (El Saltimbanqui) op 48, (1960) ballet;  “El Retablo del Rey Pobre” ( The Dawn of the Poor King), op.27, (1950-52), a Christmas Mystery, for singers, dancers and orchestra; “The Goat that Couldn't Sneeze”, op 106 (1992) musical comedy for children's voices and chamber ensemble; “Viudas” (Widows) op.101 (1987-90) opera in 3 acts; “Versos de ciego”, op. 49 No.3, (1949) incidental music for a play by A.Heiremans..

Cantatas and Oratorios: “Cantata de Navidad” (Christmas Cantata), op 13 (1946), for soprano and orchestra; “Alboradas”, op.56,(1965) for SSA harp.piano and percussions); “América, no en vano invocamos tu nombre”,  a cantata  for TTBB, soprano, baritone soloist and orchestra op 57,(1966); “Un canto a Bolívar”, op 78, (1980-81) for voices and traditional Andean instruments;  Missa "in tempore discordae" op.64 91968-69) for tenor soloist , SATB and orchestra;  “The Days of God” Oratorio op.73 (1974-76) for quartet of soloists, chorus (SATB) and orchestra; *Bolivar” op.81 (1981-82)  thriptych for narrator, SATB and orchestra; “La Ciudad Celeste”, op 105 (1992), a Cantata for baritone soloist, SATB and orchestra 1992; “Tres cánticos sagrados”  (Three Sacred Songs) op 108 (1995) for SATB and chamber ensemble; Ave Maria, op.111a, (1996) for soprano soloist, oboe obligatto, organ and SATB; “Canto a la cordillera”, op 113, (1997), for SATB and orchestra.

Compositions for orchestra (with or without instrumental soloists): “Escenas de Cortes y Pastores”,  Suite op 19, (1946); “Obertura Festiva”, op 21, (1948); Symphony No. 1, op 21, (1949); Concerto No. 1, op. 28, (1950), for piano and orchestra; Symphony No. 2, op 39 (1954); “Serenata Concertante”, op 40, (1954); Jubilaeus musicus "ad honorem Universitatis Sanctae Mariae," op 45, (1956); Symphony No. 3, op 50, (1961); Psalms op.51,(1962) for wind symphony-orchestra; “Concerto a tre”, op 52, (1962) for piano trio and orchestra; Concerto for Wind Orchestra, op 53, (1963-64); Symphony No. 4 "de la respuesta lejana," op 59, (1966); Concerto for Violin and orchestra, op 86, (1983); Concerto No. 2 op.93 (1985) for piano and orchestra; “Riley's Merriment”, op 94, (1986) a scherzo for orchestra; “Fantasia”, op 95 (1986), piano soloist and wind. symphony; Fanfare, op 97, (1986-87); Concerto for cello and orchestra, op. 104, (1991-92); Symphony No.5, op.109, (1995); Symphony No. 6 "semper reditus," op 112, (1997).

Chamber Orchestra: Chamber Concerto, op 34, 1954; “Quattro liriche brevi”, op 61b (1967) for alto saxophone and chamber orchestra; Variaciones Serenas, op 69, (1971) for string orchestra, “Volte”, op 67 (1971) for piano and chamber orchestra; Concerto for oboe and string orchestra, op 77, 1980; Introduction and Allegro Concertato, op.117, (1999) for piano  four hands and chamber ensemble; Fantasias, op. 119 (2000) for violoncello and small orchestra; Concerto Grosso,op.122,(2001-02), for oboe, violin  and string orchestra.

Chamber Ensambles: Dos piezas, op 1, (1936) for violin and piano; Pequeño poema, op 5, (1938) for flute and piano; Sonata , op 9, (1945) for violin and piano; Sonata a dúo, op 11,  (1945) for violin and viola; Sextet, op 38,(1954) for clarinet, string quartet and piano; Dúos Concertante, op 41, (1955) for violoncello and piano; Pastoral y Scherzo, op 42, (1955) for violin and piano; Divertimento I and II op 43, (1956) forflute, oboe and bassoon; String Quartet No. 1, op 46, (1957); Concertino, op 54,1963, for trumpet, 2 horns and trombone;  Sonata a Quattro, op 55 (1964) for flute, oboe, harpsichord and double bass; Trio No. 1, op 58,(1966) for violin, violoncello and piano; Quattro liriche brevi, op 61a (1967) for alto saxophone and piano; Mobili, op 63, (1971) for viola and piano; Serenata, op 70 (1972) for flute and violoncello; Sonata de Estío, op.71 (1972) for flute and piano; Presencias, op72 (1972) for septet (fl. Ob. Bsn. hpscrd.r.vln.vla.vc.); Trio No. 2, op.75 (1977) for viol[in, violoncello and piano:; De profundis, op 76, (1979) for tuba and cello quartet; “Variations for a Quiet man”, op 79 (1990) for clarinet and piano; Tangos, op 82, (1982) for eleven instruments; Balada, op 84 (1982-83) for violoncello and piano; Glosas, op 91 (1984) for violin and guitar; “For Young Violinists, op 96  (1986-87)  for 3 parts of violins; Gyrocantus, op 98, (1987) for flute, clarinet harpsichord and light percussions; “Midsummer Diversions” op. 99 (1987) for violoncello and tuba; “Partita”, op.100, (1988) for alto saxophone and piano trio;  (alto sax, vn, vc, p), 1988; “Three Fanfares”op 107 (1994)  for brass quintet; ”Encuentros”, variations on two themes by Schubert, op. 114, (1997) for string quartet and piano; String Quartet No.2,op.110 (1995);  Espacios, a rhapsody, op.115 (1998) for violoncello and piano; Secuencias, op120 (2001) for;alto saxophone and percussions; "Turns and Returns", op.121 (2002) for violin and piano; Movimiento Concertante op.123,(2003) for alto saxophone and string quartet; String Quartet No.3, op.124, (2003);. String Quartet No. 4, op.125, (2004); “Estancias del Recuerdo” (Dwellings of Remembrace) op 126 (2007), for flute, clarinet, string quartet and piano.

Solo Vocal Music: Dos canciones op 4, (1937) , for medium voice, on poems by G.M. de Jovellanos and G.Mistral; Canciones en tres movimientos, op 12 (1945); for médium voice and string quartet, on poems by J.Guzman Cruchaga;  Song for contralto and piano, op 15, (1946); “Canciones Castellanas”, op 20 (1948) for soprano and eight instrumentalists  (fl.E.hrn. Hrn in F vla.vc. harp and perc.) on poems from the Spanish “Golden Century”; Romancillo,op.23 (1948) for contralto and piano, on a poem by F.de Borja; Cantos de Advenimiento” op. 25 (1948),  for mezzo, violoncello and piano, on poems by D.de la Vega and G. Mistral El Alba del Alhelí, op 29 (1950) song cycle for soprano and piano, on poems by R.Alberti; Garden Songs, op 47 (1959);for high soprano, flute, viola and harp, on poems by Carmen; Alabanzas a la Virgen, op.49,(1959) for soprano and piano, on traditional Spanish poems; Palabras de Don Quijote, op 66 (1970-71) for baritone and chamber ensemble, on words by Cervantes; Psalms, op.74, (1977) for baritone and piano, on words from the Bible; Canciones en estilo popular, op 80 (1981); for soprano and guitar,on poems by P. Neruda;”Yo digo lo que no digo”, op 83, (1983); for unison voices and folk instruments; Biografía mínima de Salvador Allende, op. 85, (1983); for voice, guitar, distant trumpet and percussions, on a poem by D. Valjalo; Cinco canciones a seis, op 87, (1984), for contralto 2 violins clarinet, violoncello and piano; on XX century Spanish poems; “Ash Wednesday, op 88, (1988) for contralto and string orchestra, on a poem by T.S.Eliot; Saludo, op 99bis,(1988) for unison voices unacompanied; Canción de cuna para Llorença Gasull, op 103,(1991), on a poem by the composer for voice and guitar;.
Choral "a capella": “No lloréis mis ojos”, op.3 (1937);for SSA; Villancico, op.6 (1942); for SATB on a traditional poem; Romance a lo divino, op 7 (1942); for SATB on a poem by Sn.Juan de la Cruz; “Let Down the Bars, Oh Death!” op 8, (1945). For SATB on a poem by Chr. Rosetti; Romances pastorales, op 10, (1945), for SATB, on poems by Góngora; Romance a la muerte de Don Gato, op 16,(1946); for TTBB on a traditional Spanish text; Cánones y rondas escolares, op 17,(1946) for children's voices; Christmas Songs, op.22,(1948) for SSA or children’s voices; Three Madrigals, op 62,(1967), for SATB, on an anonymous  Spanish poem, and by P.de Quiroz and M. de Santillana; Ave Maria, op.111 b, (1996), for  soprano solo and SATB “a cappella”.

Solo Instrumental Works: For piano(s): Variaciones y fuga sobre el tema de un pregón, op 18, (1946); Diez piezas simples, op. 31, (1951); Rústica, op 35, (1952); Sonata, op 60, (1967); Dialogues in Waltz, op 89 (1984) for piano 4 hands; Rondo-fantasía, op 90;(1984), Diferencias del retablo,op 102, (1991) for two pianos; Cantango, op.116 (1998), for two pianos..Other instruments: Suite para bandoneón, op 36, (1952); A Greeting Cadenza for William Primrose, op 65, (1970)for solo viola; Esquinas, op 68, (1971 for guitar; Variations on a Chant, op 92, (1984) for harp; Tocata ed Arioso, op.118 (2000.) for organ.

Cinema: La veta del diablo, op 37, (1952); La caleta olvidada, op.49 No.2, (1959).


DISCOGRAPHY.

Long Playing (LP):Symphony No.1,op.26 (Orquesta Sinfónica de Chile,V.Tevah) RCA-Victor,Chile CRL; Sympnony No.2,op.39 (Louisville Orch. R.Whitney)LOU 62-4, USA; Serenata Concertante op.42 (Luoisville Orch.R.Whitney) LOU56-5 USA; Variaciones y fuga sobre el tema de un pregón, op.18, (A.Montecino pno.) RCA-Victor,Chile;"Un Canto a Bolivar,op.78 (Qilapayún Ensemble.) PATHÉ-MARCONI France 2C-070-72.562; Romances Pastorales,op10 (Coro de la Universidad de Chile, M.Dusi) ODEON-Chile, LDC-36301; Alboradas, op.56 ( The Belles of Indiana and instruments, E.Bayless) EDUL,Argentina ED-0ll; Christmas Songs,op.22 (Coro de Cámara de Valparaíso, M.Dusi, cond.), ODEON,Chile SLDC-36325; Missa"intempore discordiae"op.64 (Indiana University Córale and Orch. J.Pressler solo tenor .A.Harler cond.) ENHARMONIC EN 82-003; Sextet,op.38, (A.Bloom,cl. M.L.Boehm,pno, Kooper Str.Qua.) VOX-Turnabout, TV-S-34505 USA; Canciones Castellanas,op.20 and El Alba del Alhelí, op.29 (C.Oyuela, sopr. Chamber Ensamble, .R.Whitney, cond. E,Savi, piano.)RCA-VICTOR, Chile CRL-5; Canciones Castellanas op.20 (D.Renzi,sopr.Chamber .Ensamble, A.Winograd, cond.) HELIODOR H-HS-25037,USA; Sonata a Quattro,op.55 ( Baroque Chamber Players) EDUL-011,Argentina; Quattro Liriche, op.61 E. Rousseau, alto saxophone. J.Rezits piano.) CORONET.

Compact Discs (CD): Sextet op.38, (A.Bloom cl. M.L.Boehm pno. Kooper Quartet) CD-TROY 176, Albany,USA; Quattro Liriche, op.61 (E.Rousseau sax. H.Graf pno.) CD-DELOS 1007. USA; Fantasía, op.95 (A.Mihalso pno. Trinity UniversityWind Symphony. A.Carinci, cond.) CD MARK MCC-595; Varuiaciones Serenas,op. 69 (Orquesta.de Cámara de Chile, F.Rosas, cond.)) ALERCE-Chile CDD-0237; Missa"in tempore discordiae"op.64 ( IU Chorale and Orchestra, J. Pressler tenor, A. Harler, cond.) ALERCE-Chile CDD 0183; Variations on a Chant,op.92 (S.McDonald,harp) HARP EDITIONS D-CD 1001; Sonata,op.9 and Pastoral y Scherzo,op.42 (F.Ansaldi vln. F.Conn pno) SVR-1013 DDD-Chile; Partita op.100 (E. Rousseau saxophone, Haydn Trio of Vienna) RIAX-CDDE RICA-1003; "The Music of Juan Orrego-Salas" includes Tangos,op.82,( IU New Music Ensemble. H.Sollberger) Serenata op.70, ( K.Magg fl. F.Magg vc.) "Mobili"op.66 ( K.Kashkashian vla. J.Tocco pno..) “Glosas” (G.Decuyper vln. F. Gasull guit.) and Concerto for violin and orchestra (F.Gulli, soloist,  IU Philharmonic, Th. Baldner cond.) CDDD-IUS-022; String Quartet No.1,op. 46 (Cuarteto de la Universidad Austral de Chile) CDD-SVR 3006-10; Variaciones y Fuga sobre un pregón,op.18 (Cristina Capparelli,pno.) INTERMUSIC Ppgem-01; Tres Canciones en el estilo popular (C.Figerios,soprano. L.Orlandini guitar.) CDD-SVR 3006-01; Quattro Liriche,op.61 (E.Carinci sax.S.Magril pno.) MARK MCD-1611; Esquinas,op.68 (L.Orlandini guit.) ABA-SVR 90000-2; Esquinas,op.68 (O.Ohlsen guit.) SVR-ABC3006-1; Rústica,op.35 (P.Zamora,pno.) LAMC DDD-2001-1; Partita, op.100, (M.Villafruela sax. J.de la Jara, vln. P.Barría, vc. C.Vila, pno.) FONDART MMD-2000; Secuencias, op.120 (M.Villafruela, sax. R.Kanamori, percs.) FONDART MMD-2001; Espacios, op.115 ( C.Prieto, vc. E. Quintana, pno.) URTEXT JBCC-115; "El Alba del Alhelí" op.29,  (M.T. Uribe sopr. B. Szokolay, pno.) HUNGARTON HCD-32044; "El Alba del Alhelí", op.29,  (A. Jardim, sopr. D. Barenboim pno.) MEE-LAMC-D1999; Variations on a Chant, op.92 (M.L.Rayán hrp.) MEE-LAMC-D2000; Esquinas, op.88 (E.Jensen, guit.) MEE-LAMC-D2001. Orrego-Salas Choral Compositions, includes, “La Ciudad Celeste”, Villancico, Romance a lo Divino, Romances Pastorales, Madrigales, Tres Cánticos Sagrados,  (IU Contemporary Vocal Ensemble, C.Tellez and J.Harrington, conductors; Benjamin Eley, baritone.) IU RECORDS.


BIBLIOGRAPHY
. ( summary of publications)

Surveys and monographies:

La creación musical contemporánea en los Estados Unidos: consideraciones sobre sus principales tendencias, RMCH, I/4. 1945 Chile.
Aaron Copland: Un músico de Nueva York, RMCH, III/22-23, 1947, Chile.
The String Quartets by D. Santa Cruz.” MUSICAL QUATERLY,4/3 New York. Heitor Villa-Lobos, figura, obra y estilo, INTERAMERICAN MUSIC BULLETIN, LII, 1966, Washington, D.C..
Araucanian Indian Instruments, ETHNOMUSICOLOGY, X/I, 1966, 48-57. USA. Continuidad y cambio en la música. EDICIONES NUEVA UNIVERSIDAD, 1971, Santiago, Chile.
Presencia de la arquitectura en mi música, RMCH, XLII/169, Chile.
Hacia un language latinoamericano en la música  CLAVE, Montevideo,Uruguay.
The Young Generation of Latin American Composers” INTERAMERICAN MUSIC BULLETIN 38/63 Washington, DC USA.
La Nueva Canción Chilena, SÉNECA Santiago, Chile 1980.
Folk and Popular Music in the Development of Nationalism in Latin America”, INDIANA UNIVERSITY and SLAVICA PUBLICATIONS. INC. 1970.
Espíritu y contenido de la Nueva Canción EDICIONES LA FRONTERA, Madrid, Spain and Los Angeles, USA 1985.
Forma y estructura en la música de Enrique.Soro RMCH No.30,1948,Chile.
La música Vocal de Alfonso Leng RMCH No.54, 1957 Chile.
Medio siglo de crítica musical, RMCH No.65 1959.
La eternidad de Mozart .. FINIS TERRAE, 1957, Santiago,Chile.
“The Acquisition of Latin American Music Library Materials”
NOTES, XXII/3, 1966 USA.
The Opera Don Rodrigo by Ginastera” HISPANIC ARTS, MacMillan I/1, New York,1967.
“Continuity and Change in Music
”, LATIN AMERICAN LITERARY REVIEW, III/6, 1975, Pittsburgh PA. USA.
“Problémes actueles des compositeurs sud-americains”
LE MONDE DE LA MUSIQUE, UNESCO, XVI/3 B.Schott Sohne, Mainz, Germany.
“Traditions,Experiment and Change in Contemporary Latin American Music”
LATIN AMERICAN MUSIC REVIEW VI/2, Austin,TX.USA.
Arrau en el disco, LITERATURA CHILENA, Ed. Frontera XVII/1981. Lenguage y estilo en "Porgy and Bess"  ZIG_ZAG, No.2853, 1959 Santiago, Chile.
El "Orfeo " de Straivinsky RMCH No.32, Chile 1949.
Hacia la conquista del sonido electrónico, ZIG-ZAG No.2832, 1959, Santiago, Chile.
Schoenberg y el Sistema de los Doce Tonos, ZIG_ZAG No.2834, 1959, Santiago Chile;. Benjamin Britten y la ópera inglesa, ZIG_ZAG No.2843, 1959, Santiago Chile.
Lo que Stravinsky no dijo, ZIG_ZAG No.2859, 1959, Santiago,Chile.
Aporte de las Américas a la música del Occidente, ANALES de la Universidad de Chile, 1986.


Books:

Music of the Americas” (co-editor with G.List, 257 pgs.) IU RESEARCH CENTER, USA 1967.   
Music from Latin America Available at Indiana University”. IU PRESS  USA 1971.
AMÉRICA LATINA EN SU MÚSICA.(344 pgs.), chapter on ¨Technique and Aesthetics “  ED..UNESCO and SIGLO XXI, Mexico.1977.
Encuentros, visiones y repasos
(453 pages), ED.UNIVERSIDAD CATOLICA DE CHILE, 2005.

Dictionary and Encyclopedias entries on the music of Latin America

HARVARD DICTIONARY OF MUSIC, 1969.
ENCYCLOPEDIA OF LATIN AMERICA, H. Delpar.McGraw-Hill 1974.
GROVE'S DICTIONARY, E.Sadie, Oxford Univ.Press, England, 1976.
CAMBRIDGE ENCYCLOPEDIA OF LATIN AMERICA, Collier, Blackmore & Skidmore, Cambridge Univ. Press 1985.
INVOLVEMENT WITH MUSIC, Harper's College Press, New York,1976.



WRITINGS ON THE COMPOSER AND HIS WORKS
(monographies, articles, thesis, and dissertations)

Domingo Santa Cruz.- El Concierto para piano y orquesta en la obra de Orrego Salas (RMCH VI/39,Chile 1950).
Vicente Salas Viú.-Juan Orrego Salas. ("La Creación Musical en Chile", Ed. Universidad de Chile,1951).
Luis Merino.- Visión del Compositor Juan Orrego Salas, (RMCH 33/144, 1978).
Gerard Béhague.- Music in Latin America (Prentice-Hall,Inc, New Jersey, USA, 1979)
Samuel Claro y J.Urrutia Blondel.- Historia de la Música en Chile, (Ed.Orbe,Santiago de Chile,1973)
Roberto Escobar y R. Yrarrázaval. Música Compuesta en Chile, 1900-1968 (Ed. Biblioteca Nacional, Santiago de Chile, 1969).
Roberto Escobar.-Músicos sin pasado, ( Ed. Nueva Universidad , Santiago y Ed. Pomaire, Buenos Aires,Mexico, Madrid, 1971)
Gerald Benjamin.-“Dramme per Musica” en las obras de Orrego-Salas, (RMCH 48/182, Santiago 1994)
Andrea W. Etzler.-A survey of representative contemporary piano literature of Chile (Master Thesis IU School of Music, USA 1970)
Brandt B. Curtis.- Rafael Alberti and Chilean Composers, ( Doctoral Thesis submitted to the IU School of Music, USA, 1977)
David C. Nichols.-The String Quartet in Contemporary Latin American Music, ( Master Thesis submitted to te School of Music of IU, USA 1965)
Henry R. Buckwalter,II.-Conductor's Study on Orrego/Salas' Missa "in tempore discordiae" ( Doctoral Dissertation, submitted to the School of Music of IU, USA 1984.).
Betty Anne Diaz.- The Chamber Music of Orrego-Salas; instrumental duos with piano, ( Doctoral Treatise submitted to the School of Music of Florida State University, USA 2000)
Ricardo Lorenz.-El Concierto para violín y orquesta de Orrego Salas.(RMCH 38/162, Santiago de Chile 1985)
Daniel Quiroga.- El Ballet "Umbral del Sueño" de Orrego Salas", (RMCH XXV/42, Santiago de Chile, 1942).
Gianfranco Lamanna.- "Los dias de Dios" oratorio de Orrego Salas, (RMCH XXX/135-36, Santiago de Chile, 1976.
Juan Pablo Gonzalez.-
“Juan Orrego Salas; encuentros y visiones”, RESONANCIAS: IMUC/18, Santiago, Chile 2006.
Juan Orrego-Salas.- Presencia de la Arquitectura en mi música, RMCH XLII/168, Santiago de Chile, 1988.
Juan Orrego-Salas.-"El Retablo del Rey Pobre" cuarenta años después (RMCH XLV/175, Santiago de Chile, 1991
Juan Orrego-Salas.-Obras Corales en el desarrollo de mi creación. (Rev.CORALIA Ed. Fundación Coral Argentina V/8-9,Buenos Aires.)

 

Biographical Entries:

GROVE'S DICTIONARY, BAKER'S DICTIONARY, VINTON'S DICTIONARY, NORTON.S ENCYCLOPEDIA, PAHLEN, DIE MUSIK IN GESCHICHTE UND GEGENWART, INTERNATIONAL WHO’S WHO IN MUSIC, Cambridge, England; WHO’S WHO IN AMERICA, New Jersey, USA and others. DICCIONARIO DE LA MÚSICA IBERO AMERICANA, Madrid España

MUSIC AND RECORDINGS AVAILABLE FROM:

MMB Music,Inc. Saint Louis MO.
PEER-SOUTHERN , New York
BOOSEY & HAWKES, New York
ALBANY MUSIC, Albany N.Y.


 Please email questions or consultations to
Latin American Music Center:
lamc@indiana.edu