Daniel Alomía Robles

[4] Alomía Robles said that he had a good ear and could reproduce any sound that he heard and that he took special pleasure as a child in singing the indigenous songs of Peru.

[4] Alomía Robles discovered that the theatre needed extras in the chorus line and offered himself so he could hear the music for free and learn the operettas of that period.

[1] Alomía Robles' early interest in music was encouraged there by his teachers Manuel De la Cruz Panizo and Claudio Rebagliatti.

[1][5] In his third year he traveled with other students to the Amazon jungle regions where he met Catholic missionary Gabriel Sala, who came to influence Alomía Robles' life in music.

[4] Alomía Robles traveled throughout Peru compiling the stories and myths of the folk music of the Amazon jungle regions and the mountains of the Andes.

[1] In 1911, Alomía Robles traveled to Argentina for the performance of his first opera Illa Cori that told the story of the Inca ruler Huayna Cápac and his conquest of Quito.

[1] The song was composed as part of a zarzuela (Spanish operetta) of strong social content about Peruvian miners in Cerro de Pasco and their relations with the foreign mining company.

Simon requested use of the song for a future recording, to which Jorge Milchberg, a founding member of the band, wrongly informed him it was a traditional folk melody.

Jorge Milchberg further informed Paul Simon that he is registered as the co-author and the arrangement on their version and added the well-known introduction which was not part of the original melody.

The parade and the cachua have been widely covered and spread, and in some cases, lyrics have been added (all of them should be considered apocryphal) and generally their rhythms and instrumentations have been changed.

[12] The program included five compositions by Alomía Robles, "March Peru", "En Los Andes", "Hymn To The Sun", "Cashua" and "Fondero".

[13] His son Sebastian Tomas Robles remained in the United States and in 1933 became a staff cartoonist for the Editors Press Service in New York City and was selected by The Washington Post to sketch government personalities for the National Gallery.

[10] In a 1940 article on the state of music in Peru, The New York Times praised Alomía Robles as having "a considerable natural talent" and for "bettering the knowledge of the folklore of his country.

"[15] Daniel Alomía Robles was married to Sebastiana Godoy Agostini with whom he had ten children including four sons: Jack, Felix, Ernest, and Carlos.