Draft:Francisco Salinas
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Francisco Salinas Villalba (4 August 1892 - 196?) was a Mexican Classical guitarist and Composer of the early 20th Century.[1] He is known for being one of the first classical guitarists to appear on early sound recordings, His contributions consist of the music of Octaviano Yañez, Guillermo Gómez, and various European composers including Francisco Tárrega and Franz Schubert made for the Victor and Columbia recording companies.[2]
Francisco Salinas | |
|---|---|
 | |
| Background information | |
| Birth name | José Pedro Francisco Salinas Vellalva |
| Born | 4 August 1892 Chignahuapan, Puebla, Mexico |
| Died | 196? (aged 68-77) Mexico City |
| Occupation(s) | Guitar · Composer · Pedagogue |
| Years active | 1903-1951 |
Biography[edit]
Salinas was born on 4 August 1892, in Chignahuapan, Puebla, Mexico.
In 1900 Salinas moved to Puebla where he eventually in 1903, was admitted to La Academia de Música under the study of Juan Anzures, leader the Municipal band which Salinas joined on Tenor Saxophone.
In 1911 Salinas became certified as a teacher and moved to the federal district of Mexico to pursue a career in education. One year later, in 1912 Salinas entered the Conservatorio Nacional de Música where he studied with Estanislao Mejía and Marcos Rocha. Alongside his formal studies Salinas also began taking private guitar lessons with Miguel Yáñez, Octaviano Yáñez and Guillermo Gómez around this time.
In 1934, before a jury made up of various faculty at CNM including Manuel M. Ponce, Rafael J. Tello, and Estanislao Mejía, Salinas was made chair of the guitar program at the conservatory where he stayed until his retirement in 1951. During his time as professor he trained students who would go on to be notable Mexican guitarists including Jesús Silva and Guillermo Flores Méndez.[3] During this period Salinas was also a professor of music in the fine arts department of various artistic preparatory schools.[1]
Away from his academic pursuits, Salinas was a virtuosic guitarist and performer which can be heard on his 1926 and 1929 recordings with the Victor and Columbia companies. During his career Salinas frequently presented live concerts and radio recitals across the republic of Mexico featuring a well balanced program of Mexican and foreign composers.[4]
Recordings[edit]
In December of 1926, Salinas commenced recording in New York City with the Columbia Phonograph Company, in which he recorded pieces by Gómez, Yáñez, Tárrega, and various other composers.[2] Tracks from this session included more of a Mexican influence with those such as Yáñez's "Anita" and "Habaneras" and the popular waltz "Súplica de Amor" by Mexican composer Aurelio F. Galindo.[5]
From 1929 to early 1931, Salinas recorded for the Victor recording company in Mexico City, like the previous recording session, Mexican music was featured but Salinas contrasts this with a larger array of major Tárrega works including "Capricho Arabe" and "El Carnaval de Venecia".[5]
Salinas' own composition "Dime Que Si" is featured on both labels with each containing a distinct recorded performance.
Salinas recordings were reviewed in the column “A Gallery of Guitarists” by Geoff Sisley in BMG (September and October 1937).[5] Sisley Writes:
"It is strange how a finger played guitar can sound like a guitar duet in some numbers, particularly those which have a theme with bass note and chord accompaniment. This is the impression I received when listening to Columbia No. 2569-X. The title is “Anita”, a composition remarkably full in character and just the type of number one likes to hear played on the guitar, for it displays a command of light and shade, both as regards tone and volume, which is a joy to which to listen."[5]
Salinas' recordings can be found in Volume 7 of the "Segovia and His Contemporaries" compilation series where the two split a tracklist in a dual recital fashion. In addition to these recordings the Frontera Collection has also digitized and uploaded more of Salinas' recordings to their Youtube channel in an attempt to preserve Latin music's.
Compositions[edit]
Though it is mentioned in Moncada Garcia's Pequeñas biografias de grandes músicos mexicanos that Salinas composed didactic pieces for guitar and had numerous arrangements[1], little of Salinas' output survives to this day aside from "Dime Que Si" released on both columbia and Victor labels and a short Mexican waltz titled "Maria Luisa (Hebe)" that was published in the Mexican Magazine Guitarras y Canciones.
Despite his teacher Octaviano Yáñez being a player of the Guitarra Septima, Salinas played a single course seven string guitar which can be heard on his recordings such as "Anita" and "Habaneras" indicating his embrace of European as well as Mexican preferences in regards to capabilities of both styles of instrument.
References[edit]
- ^ a b c Moncada Garcia, Francisco (1966). Pequeñas biografias de grandes músicos mexicanos (1st ed.). México, D.F.: Ediciones Framong. p. 237.
- ^ a b "Francisco Salinas Vellalva". Discography of American Historical Recordings. Retrieved 2023-04-28.
- ^ Helguera, Juan (1996). La Guitarra en México. La Torre de Lulio. p. 21.
- ^ Pareyón, Gabriel (2007). Diccionario enciclopédico de música en México. Universidad Panamericana. Zapopan, Jalisco, México: Universidad Panamericana. p. 934. ISBN 978-968-5557-79-5. OCLC 213356460.
- ^ a b c d "Mexican and Cuban Guitarists Recording in the Late 1920s and Early 1930s". Ebrary. Retrieved 2023-04-28.