Adolfo Salazar

He maintained a close connection with other prominent Spanish intellectuals and musicians including José Ortega y Gasset, Jesús Bal y Gay, and Ernesto Halffter.

While his compositions are significant in the context of the 1920s Spanish musical avant-garde, today his critical writings are deemed of greater importance.

In his columns for El Sol between 1918 and 1936, he both reviews concerts and discusses trends in the Spanish public's reception of classical music.

In 1939, he moved to Mexico at the invitation of Mexican president Lázaro Cárdenas del Río, and continued to write essays and monographs on European music.

His style evolved in the mid-1910s toward Impressionistic techniques: parallel chords, lack of clear cadences, and avoidance of major or minor modes.

His last composition, Cuatro letrillas de Cervantes, is more strictly tonal and closer to folksong than his early works, with clear patterns and two-measure phrases.

3 in B minor - Rubaiyat, string quartet 1925 - Trois petite pièces, chamber 1927 - Zarabanda, chamber - Romancillo, guitar - Deux enfantines, guitar 1929 - Paisajes, orchestra 1934 - Homenaje a Arbós, orchestra 1948 - Cuatro letrillas de Cervantes, chorus Source: Emilio Casares Rodicio - Andrómeda.