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Juan Pedro Esnaola (17 August 1808 in Buenos Aires – 8 July 1878 in Buenos Aires) was the most important Argentine composer from the first half of the nineteenth century. He is remembered as the arranger of the Argentine National Anthem.〔Melanie Plesch, "Esnaola, Juan Pedro." ''Diccionario de la Música Española e Hispanoamericana'' (Madrid: Sociedad General de Autores de España, 1999-2002), vol. 4, 760-762.〕 ==Biography== Esnaola was born in Buenos Aires to a Spanish-Basque father and a local-born mother of Basque background. He began musical training as a child, under his uncle, the priest José Antonio Picasarri (1769–1843), chapel master at the cathedral of Buenos Aires. As the region became independent from Spain in 1810, and Picasarri decided not to resign his Spanish citizenship, he was forced to leave the country (1818). He took along his nephew, who then was able to take piano and counterpoint lessons from European music teachers in Madrid and Paris (and perhaps also other cities). Esnaola wrote an unspecified number of piano pieces in Madrid (now lost).〔Guillermo Gallardo, ''Juan Pedro Esnaola: Una estirpe musical''. Buenos Aires: Teoría, 1960.〕 Picasarri and Esnaola could return to Buenos Aires on 29 June 1822 thanks to an amnesty law that Governor Martín Rodríguez issued on that year. They soon founded a "School of Music and Singing" supported by the provincial government, and participated in the performances of the local Philarmonic Society.〔Gallardo, ''Juan Pedro Esnaola''.〕 Esnaola must have completed his training as a composer with the Spanish violinist, singer, composer, and impresario Mariano Pablo Rosquellas in Buenos Aires over the following years, and, at 16, wrote a three-voice Mass in D major (1824) that summarized his knowledge of the art.〔Bernardo Illari, "Relevés d'apprenti: La formación profesional del compositor Esnaola.” ''Música e Investigación'' 17 (2009), 17-68.〕 Starting around 1827, Esnaola began a career as a merchant and businessman, following in the footsteps of his father. During the 1830s and later, he developed an active social life. Even though he avoided party affiliations, the regime of Governor Juan Manuel de Rosas blacklisted and imprisoned him for a few weeks in 1840. He managed to weather the storm probably by composing anthems in praise of Rosas (1841-1843); yet there is no evidence that Esnaola ever belonged to the latter's party, nor he served any significant administrative positions. Esnaola did attend regularly the salon of Rosas's daughter, Manuelita, in Palermo, to whom he dedicated a string of songs and dances, and who may have interceded for his release.〔Bernardo Illari, “Esnaola contra Rosas." ''Revista Argentina de Musicología'' 11 (2010), 33-73.〕 After Rosas was overthrown and went into exile with his family (1852), Esnaola occupied several official positions, including the administration of the ''Serenos'' (night watchmen), the direction of the provincial mint, the presidency of the bourgeois ''Club del Progreso'' (1858), and that of the Bank of the Province of Buenos Aires (1866). During these years, Esnaola seldom appeared in public as a performer, yet he contributed administrative and overseeing work to concert societies and conservatories. He participated in the resurrection of the Philharmonic Society, for which he performed the piano again in 1855, and, later, held honorary posts in the ''La Lira'' music society and the Society of the Quartet. Esnaola furthermore presided over the supervising committee for the School of Music of the (Aires ) Province, founded in 1874. In the meanwhile, he continued to amass a fortune both considerable and controversial, through mortgage loans and property rental. He died a single man, and bequeathed his millions to his sister's family.〔Gallardo, ''Juan Pedro Esnaola''.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Juan Pedro Esnaola」の詳細全文を読む スポンサード リンク
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