104:, Pedro Cortés y Larraz, and only left with his musicians, the clergy, and the religious orders when they were forced to do so, arriving at the new site in November 1779. Despite the hardship of his new life, Castellanos kept up his work, composing four or five works every year. Among his pupils, several became able composers, such as
182:, "The Villancicos of the Guatemalan Composer Rafael Antonio Castellanos (d. 1791): A Selective Edition and Critical Commentary." Ph.D. dissertation, Washington, D.C.: The Catholic University of America, 1990.
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One hundred seventy-six of his works are extant and have been catalogued. Some of them have been transcribed into modern score for performance and recording. All of his output is vocal, with
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services, along with those of his uncle. When Quirós died in 1765, Castellanos was appointed his successor as chapel master, with the duties of conducting cathedral music during matins,
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30:. His style is that of the late Spanish baroque, pre-classical, and classical periods, with frequent reference to Guatemalan folk music idioms.
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In 1745 he became a journeyman and was admitted as a member of the cathedral orchestra as first
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After the earthquake of 1773 life changed dramatically in the City of
Santiago de
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Guatemala City: Universidad Rafael Landívar, Instituto de
Musicología, 1995.
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From an early age, Castellanos trained as an apprentice under his uncle
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69:. During the 1750s he produced various of his own compositions for the
81:, and of composing suitable music for different liturgical occasions.
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Rafael
Antonio Castellanos: vida y obra de un músico guatemalteco.
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213:. South Woodstock, Vermont: Plumsock Mesoamerican Studies, 1984.
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Several of his compositions are available on CD, performed by
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88:, which would shortly move to the site of present-day
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192:. Guatemala: Editorial Galería Guatemala, 2005.
157:liturgical calendar, as well as sacred works on
58:writing and an unusual expressive talent.
128:Free scores by Rafael Antonio Castellanos
96:. After 1775 the city would be known as
211:Music from Eighteenth-Century Guatemala
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54:. This piece reflects his mastery of
100:. Castellanos remained loyal to the
262:Classical composers of church music
257:People from Sacatepéquez Department
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219:, "Guatemala Cathedral to 1803."
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267:18th-century classical composers
223:II/2 (Spring-Summer 1980):27-72.
110:Pedro Nolasco Estrada Aristondo
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190:Creación musical en Guatemala
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168:and the Millennium Ensemble.
16:Guatemalan classical composer
247:Guatemalan Baroque composers
153:for different feasts of the
132:Choral Public Domain Library
112:, his eventual successor as
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272:18th-century male musicians
221:Inter-American Music Review
106:Manuel Silvestre Pellegeros
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252:Classical-period composers
20:Rafael Antonio Castellanos
65:, sometimes also playing
277:Male classical composers
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52:Lamentation of Jeremiah
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209:Alfred E. Lemmon, ed.
40:Manuel José de Quirós
22:(c. 1725–1791) was a
94:Charles III of Spain
50:text of the Second
115:maestro de capilla
166:Cristina Altamira
98:Antigua Guatemala
92:by order of King
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217:Robert Stevenson
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146:villancicos
231:Categories
174:References
102:Archbishop
26:classical
24:Guatemalan
86:Guatemala
46:, on the
155:Catholic
151:cantatas
28:composer
161:texts.
130:in the
75:vespers
56:baroque
77:, and
71:matins
63:violin
159:Latin
139:Works
48:Latin
149:and
108:and
79:Mass
67:harp
34:Life
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