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Works for Cello

Pieza de concurso (Improvisación) (ca. 1908), for cello and piano.

Triple Concierto (1918), for cello, flute, violin and orchestra.

Preludio (1923), for cello and instrumental ensemble.

Sonata casi Fantasía (1925), for cello solo.

Concertino (1926), for cello, violin, harp, octavina and orchestra.

Concertino en cuartos, octavos y dieciseisavos de tono (1926), for cello, violin, harp and orchestra.

Serenata en cuartos de tono (1926), for cello and orchestra.

Setenta estudios (1927), for cello solo.

Preludio (Crepuscular) (1929), for cello and piano.

Concertino en cuartos, octavos y dieciseisavos de tono (1945), for cello and orchestra.

Concierto en cuartos y octavos de tono (1945), for cello and orchestra.

Horizontes (1951), for cello, violin, harp and orchestra.

Concerto (1954), for cello.

Concierto en cuartos, octavos y dieciseisavos de tono (1958), for cello and orchestra.

Primera casi Sonata en cuartos de tono (1959), for cello solo.

Segunda casi Sonata en cuartos de tono (1959), for cello solo.

Tercera casi Sonata en cuartos de tono (1959), for cello solo.

Cuarta casi Sonata en cuartos de tono (1959), for cello solo.

Quinta caso Sonata en cuartos de tono (1959), for cello solo.

Sexta casi Sonata en cuartos de tono (1959), for cello solo.

Gran Sonata (1960), for cello solo.

Sonatina, for cello solo.

Works for Viola

Pieza de concurso (1908), for viola and piano.

Capriccio, en Cuartos de Tono (1926), for viola solo.

Preludio, en Dieciseisavos de Tono (1935), for viola solo.

Setenta Estudios, en Cuartos de Tono (1935), for viola solo.

Casi Sonata No.1, en Cuartos de Tono (1961), for viola solo.

Casi Sonatas No.2, en Cuartos de Tono (1962-1963), for viola solo.

Casi Sonatas No.3, en Cuartos de Tono (1962-1963), for viola solo.

Casi Sonatas No.4, en Cuartos de Tono (1962-1963), for viola solo.

 Sonata para viola, en Cuartos y Octavos de Tono, for viola solo.

Sources:

• Benjamin, G. R. (1967). Julian Carrillo and “Sonido Trece” (“Dedicated to the Memory of Nabor Carrillo”). Anuario, 3, 33–68. https://doi.org/10.2307/779745

• Chab Dzul, L. A. (n.d.). Listado de obras para viola de compositores mexicanos. Viola sola. La viola desde México. https://lavioladesdemexico.wixsite.com/luischab/obras-para-viola-sola

• Frisch, U. (1984). En torno a Julián Carrillo. El Colegio de México, 9. https://www.jstor.org/stable/27934940?refreqid=excelsior%3A7ebea8e24628a0ad5d899b8fa44c749e

• Furman Schleifer, M., and Galván, G (2016). Latin American Classical Composers, A Biographical Dictionary. London: Rowman & Littlefield.

• Hernández-Hidalgo, O. Nader, M. (2007). La viola espiral. Música mexicana para viola-viola y piano del siglo XX [Album]. CONACULTA-Fonca.

Julián Antonio Carrillo Trujillo

Mexican composer, violinist and music theorist, born January 28, 1875, died September 9, 1965.

Julián Carrillo was born in Ahualulco, San Luis Potosí, Mexico. Carrillo was a composer and music theorist whose work shaped and defined the microtonal reputation of his country. He studied theory and composition with Melesio Morales and violin with Pedro Manzano at the Conservatorio Nacional de Música. After graduating in 1899, Carrillo later studied with Hans Becker (violin), Salomón Jadassohn (composition), and Karl Reinecke (theory) at the Leipzig Royal Conservatory in Germany. He later studied violin at the Ghent Royal Conservatory of Music with Albert Zimmer. Carillo returned to Mexico City in 1905 after earning recognition in competitions and concerts throughout Europe. He returned to the Conservatorio Nacional de Música in 1906 to work as a professor. 

With the abdication of Porfirio Díaz in 1911, the culture surrounding music and artists shifted. After being supported by the dictatorship of Díaz, musicians such as Carrillo and Ricardo Castro were punished by the democratic post-dictatorship artists that saw artists who received the support of Díaz as enemies. In 1911, Carillo traveled to the International Congress on Music in Rome, where he came into contact with European composers such as Richard Strauss, Giacomo Puccini, and Claude Debussy.  In 1914, Carillo went to New York City and founded and conducted the Orquesta Sinfónica América. He became the supervisor (1913-14) and later, director (1920-24), of the Conservatorio Nacional de Música. 

Carrillo was commissioned by Leopold Stokowski of the Philadelphia Orchestra, and the League of Composers in New York among others. As a pioneer in microtonal music, his theory, “Sonido 13” established new scales and modes by dissecting the then established 12-tone scale. Although his earlier works present Romantic-Germanic styles, his later works would present avant-garde traditions, breaking conventional compositional methods.