[2] The first performance took place in Mexico City on 15 February 1924, as part of a concert of microtonal music, responding directly to a request from José Gómez Ugarte, the editor of El Universal.
Four other works by Carrillo were also on the program (Prelude for obligato cello in quarter tones accompanied by instruments in quarter-, eighth-, and sixteenth-tones; Tepepán for soprano and chorus in quarter-tones with harp in sixteenth-tones; Hoja de Album for instruments in quarter=, eighth=, and sixteenth=tones; and Testimonio de una vida), along with several works by his students, Rafael Adame [es], Elvira Larios, and Soledad Padilla.
[2] A harp specially constructed for Carrillo's microtonal music, called arpacitera, plays 16th-tone glissandos as a superficial addition to the principal lines.
This version of the score, dated 13 November 1934, dispenses with the conventional staff in favor of using numerals to indicate pitches (with the soprano part now in quarter tones like the flute, guitar, and violin), but retains the familiar rhythmic signs.
[9] Four years after the composer's death, a third version of the work was published, which is re-scored for soprano, flute, string quartet, sixteenth-tone harp, and (optional) quarter-tone guitar.