Abstract
Samuel Claro Valdés established the idea of the nineteenth-century apogee and decline of cathedral music in Chile. From his point of view, performances by religious musicians represented the decline of music staged at the Santiago Metropolitan Cathedral, whereas secular masters represented a period of apogee there. This article draws on evidence-based research to show that his historical narrative is not built on hard facts related to musical performance. The basis for our critique is an in-depth study of the historical context and professional life of choirmaster Manuel Arrieta—a figure allegedly responsible, in Claro Valdés’s interpretations, for the cathedral’s musical decline.
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