Early propossals Efforts to create a music conservatorium at Puerto Rico date as far back as the 1890s. Moscoso contacted the head of Fomento, who agreed to work on the initiative and Alexander Schneider was brought in at the request of Casals. Through Internal Resolution 740 Fomento created Festival Casals Inc. and the first Festival was held in 1957. In February 1956, Schneider, Casals and his student Marta Montañez held a reunion with Muñoz, First Lady Inés Mendoza and Moscoso, where the organization of the first orquesta was requested. Schneider was in charge of assembling the orchestra, a process in which he admittedly "narrowed the selections down to the small complement of chamber musicians [...] who to me represent the height of ability, wide experience, and the tenuous battle of intellectual curiosity and artistic representation". On May 29, 1957, Inés Mendoza proposed to Abe Fortas restoring the Spanish forts at Old San Juan so that they could be repurposed for academic musical enterprises. Tough no advances were immediately evident from these efforts, the public exposition of music progressed and the Orquesta Sinfónica de Puerto Rico debuted on November 5, 1958. On February 28, 1962, Schneider wrote to Castro about the symphonic orchestra, arguing that there was a need for string players. Fundación Casals Inc. was first registered as a for profit corporation on April 20, 1956, with Fomento acquiring its shares (priced at $100). Following the creation of the
Institute of Puerto Rican Culture (ICP), he created a commission (members included president Augusto Rodríguez, Héctor Campos Parsi, Roger Martínez, Carmelina Figueroa, Monsita Ferrer and Jesús María Sanromá) that lead to drafting the law that created the Conservatorio. However, the arrival of Pablo Casals to Puerto Rico modified these plans and placed the establishment in a hiatus. Fomento Industrial would create Corporación Festival Casals, Inc. as a subsidiary, with offices in New York. The president of the CDF also presided the board of the entity, composed by residents of San Juan, and governor Muñiz would authorize the program. Schneider was named as assistant director at the behest of Casals. Frictions emerged after foreign musicians were featured in the prominent roles of the inaugural 1957 Casals Festival, excluding the locals. Muñoz Marín himself referred to these impromptu assembly of foreigners as the "flying orquesta". In 1958, the corporation was granted control of the Orquesta Sinfónica de Puerto Rico. It also allowed the entity to receive donations from the public. Law No. 35 also noted that the Conservatorios Dean of studies would also participate in the Sinfónica and collaborate with Festival Casals. In June 1959, plans to create the "Commonwealth Music Center" were unveiled, with Roberto Sanchez Vilella assigning $30,000 for the umbrella that would house the Conservatorio, Orquesta Sinfónica and the Escuela Libre de Música. Following that year's Festival Casals, Carlos Passalaqua held a reunion with Alexander Schneider on the topic of a Latin American director for the event and the conservatorium, leading to the recommendation of Juan José Castro, who received a two-year contract. After arriving to Puerto Rico, he also took over the Orquesta Sinfónica. His work, however, was under overseer Casals. The Dean was contractually obligated to lead a class of string ensemble or an institutional orchestra. The Conservatorio began operations on January 25, 1960, with Castro as Dean of Studies a lack of knowledge of the local musical history. José Gueits was dean of administration. Rubén Cardona was the administrative official. Several foreign musicians that joined the Orquesta Sinfónica would also serve as professors and these instrumentalists were not required to audition . Gueits' involvement allowed a collaboration between the entity and the UPR, which granted the incipient entity a space to practice, provide housing and hold concerts, which later included a collaboration to build an acoustic shell. He brokered a dispense with Sebastián González for members of the UPR's Fine Arts Department to join the Conservatorio. Jesús María Sanromá led the Piano Department, which had María Luisa Muñoz, Elías López Sobá, Nydia Font and Narciso Figueroa as professors. The Theory and Composition Department was in charge of Julián Bautista (recommended by Castro) and featured María Rodrigo, Roger Martínez and Héctor Campos Parsi. William McColl took over as clarinet professor, taking over after a brief tenure by Martínez. The Music History Department was led by Alfredo Matilla. The Singing Department was headed by Ángeles Otein and later Augusto Rodríguez (who had worked with the UPR chorus and taken it abroad and brought with him over 33 pieces, several of them original) and Nilda González joined. The Cords Department was led by José Figueroa and featured Marta Casals as professor. The role of the chorus as backdrop to soloist presentations and a prevalence of activities that were of extracurricular nature, such as opera companies, led to student resistance to Rainis and Matilla. Ángeles Nieto was recruited after Castro was impressed by Pilar Lorenza "Lorengar" García's singing, inquiring who was her teacher. Howard Hillyer was also contracted as French horn professor in 1962, but never joined and was replaced by Christopher Leuba, who took two contracts between 2962 and 1963. Several members of the Orquesta Panamericana joined the Conservatorio, namely Jesús Peña, Gildo Rodríguez, Héctor Urdaneta, Jorge Camacho, Germán Peña, Carlos Martínez, Leslie López, José María Henríquez, Lito Peña, Eladio "Yayo el Indio" Peguero, Miguel Peña. The students frequently dropped out before graduating, others failed. By 1960, the total neared 200. That year, Jack Holland joined as professors and students joined to play trumpet, French horn and trombone under him (including Eusebio Valencia, Orlando Cora, Miguel Miranda and Nilda Pérez). Roger Martínez worked as a professor of Theory and Sol-Fa until he was given the direction of the UPR's music department. Oboist Harry Schulman was replaced by James Cadwell. Likewise, Schneider also noted that he did "not like [Skowronek's] playing at all" and recommended using him as a third wind of the Orquesta and assigned him to the piccolo. He would also comment negatively about Leuba. Prior to this event, he submitted a list of American musicians, professors from the Conservatorio/members of the Sinfónica and José Figueroa to Carlos Passalacqua, having participated in the piece at Puerto Rico. In 1962, Loren Glickman contracted William McColl to expand the Wind Department and include the clarinet. Félix Skowroneck and Arthur Grossman (later professor of bassoon) of Soni Ventorum joined the Conservatorio. Personnel that was not involved in teaching was affiliated to the Unión Independiente de Empleados de las Compañía de Fomento Industrial.
Department and faculty changes On September 3, 1963, José Buitrago wrote a letter to Muñoz Marín criticizing the work of Schneider, noting that he opposed and failed to fulfill the plan to use more Puerto Rican talents and that he lobbied to separate the Conservatorio and Sinfónica from Festival Casals if local talent was allowed. He argued that the foreign presence in the Sinfónica was responsible for it failing to be adopted by the public of the island as their own, while Schneider's own interest to project himself internationally disregarded the development of music. Muñoz Marín summoned Schneider, who arrived to Puerto Rico two days later, and attended a reunion with the governor and Juan Manuel García Passalacqua. The participation of the Sinfónica in ballet and opera was postponed until it was ready. Muñoz Marín declined separating the three entities and expressed that the type of music in the Festival should not be limited and that the integration of more Puerto Rican's to the International tours of the Sinfónica should be handled as "it [could be] justified". He received a response stating that for a yes and a half they had tried recruiting a "first-class professor" but that two Europeans had already "changed their minds [at] the last minute." Gueits wrote to Dinorah Press about the subject, informing him that a professor (Sergije Rainis) would arrive in late 1964 from Yugoslavia but that he would not make it in time for the next Casals Festival. The 1964 class was composed by 14 students, which grew to 21 within a year. Harry Glanz would take over Henry Novak's post. Christopher Leuba later took over French horn from Holland. In 1964, cellist Adolfo Odnoposoff joined the Conservatorio as part of the Cords Department, taking over Marta Casals' post. On April 30, 1965, Víctor Tevah would become dean of studies of the Conservatorio, besides serving as director of the Sinfónica. In 1966, María Luisa Muñoz left the Conservatorio, with the still-student Cecilia Negró de Talavera being recruited as instructor. That same year, James Thompson was incorporated as professor of trombone and tuba and Peter Kern as professors of flute. Luis Antonio Ramírez also joined the Harmony sessions. On December 22, 1967, María Rodrigo died, being replaced by Rafael Aponte the next month. In June 1968, McColl left the Conservatorio, being replaced by Efraín Guigui. In August 1968, Antonio Iervolino was brought in as professor of French horn. Schneider wrote to Tevah questioning the move and arguing that it could be detrimental for him to serve as the 4th Horn of the festival's Orquesta. Guillermo Figueroa Sanabia and Leonardo Egúrbida joined to teach viola and guitar, respectively. When Grossman left, Elías Carmen replaced him and even participated in the local play
Octandre by Edgar Varése. On July 30, 1968, Guillermo Figueroa Sanabia was contracted as professor of viola. This would serve as platform for the Conservatorio's Orquesta to commemorate the tenth anniversary, featuring both students and professors. In 1970, Aura Norma Robledo joined the Signing Department. Of Kings' students, Manuel García, José Martín, Carlos Molina and José Alicea would become professors at the Conservatorio. On May 18, 1969, Raimis led the new chorus known as Los Madrigalistas at the Conservatorio. In 1970, Nowak took a prolonged license, recommending Orlando Cora or Nilda Pérez de Ledoux to replace him during the absence. In 1972, after the PPD won the elections, José A. Francheschini left the office of Executive Director of Festival Casals, being replaced by Elías López. A year later, Casals himself died and Montañez became the president. José Figueroa was named rector of the Conservatorio. After Antonio Iervolino requested a license in 1973, he received approval until Pouletz fell ill. Fomento Commissioner William Schuman produced a study titled
Music in Puerto Rico. The Next Decade (1972-1981), which argued focusing on strings as part of the Crash String Program. The first tryouts took place in September 1974, with an initial class of 108 for violin and 26 for violoncello (most of the declined were due to age reasons, excluding "special" cases). It began functions in October 1974. Edwin Ramos succeeded Matilla as professor of Music History. She employed the Comciertos en Familia to host a number of plays including
The Wedding of Figaro,
The Old Maid and the Thief,
Don Giovanni,
Cosi Fan Tutte,
Manon,
The Medium,
La Boheme,
Rigoletto and
Don Pasquale among others, throughout the decade. In 1974, Kern was replaced by Jean Louis Kashy. However, he had to work a schedule that included work abroad and in 1975, Kathleen Jones replaced him as professor of clarinet. In 1975, Odnoposoff's alumni Orlando Guillot served as auxiliary professor of cello. Luis Arroyo filled the vacancy. Quiñones adopted a hard approach on the matter, communicating with Guigui and informing him that if he did not return prior to the 1975 second semester, he would be waived. By August, a student strike halted work at the Conservatorio. The first year, Margarita Castro Alberty reached the final, something that Elaine Arandes repeated in 1984. In 1976, Tom Welzel began a one-year tenure. In 1977, María Luisa García was contracted in a part-time role within the Piano Department. Kristan Phillips also joined as professor. The initiative produced its own chorus initially led by John Paul González. Afterwards, Zoraida López, Pablo Pomales, Joan Herrero and Soraya Lugo led it. Jaime Rivera served as dean of studies. An incident in which the pages for
Concert No. 3 disappeared from pianist Horacio Gutiérrez's belongings was reported on April 13, 1978. Robles placed the blame on local pianist Pedro Rojas, who had complained about bringing in a foreigner, removing him from the Conservatorio. In 1979, James Thompson quit his office as professor of trombone and tuba. That same year, María Luisa García was promoted to instructor. The strike led to then president of the Senate of Puerto Rico to make a call for "promotion of Arts as a goal", which preceded the approval of several laws altering the musical and cultural landscape the following year, replacing Festival Casals Inc. with the Administración para el Fomento de las Artes y la Cultura. Among them were Law 44 which created the Corporación de la Orquesta Sinfónica de Puerto Rico and Law 77 which created the Corporación del Conservatorio de Música de Puerto Rico, both of them falling under the new umbrella. Within the AFAC, Jaime Rivera became executive director of the Conservatorio.
Community initiatives and internal reform Pabón created an elementary, intermediate and advanced classification that allowed multiple orquestas under the umbrella. Phillips left and George Mardinly began a one-year tenure. During this year the new Department of Musical Education was added at the initiative of Nelly García de Justicia. Amílcar Tirado, Pablo Ortiz Coto and Aristeo Rivera Zayas would collaborate with this initiative. Manuel Verdeguer died. In 1983, Camerata Caribe was born as a spiritual successor to the Conjunto de Cámara de San Juan. During this time, camps and youth festivals were being held as part of an initiative of Pabón and Tirado. By the following year, the Conservatorio was hosting the preparation for this event. Administrative changes continued, Meléndez Dohnert became the interim director of the Crash String Program. In 1986, the Asociación de Profesores del Conservatorio was recognized, being the first time that a union was allowed to operate within the organization. The rector left his office and was replaced by Sierra. After Firpi left, she was replaced by Marcelino Canino. A series of protests by the professors led by Leonardo Egúbida and José Rodríguez Alvira led to Pérez Rolón quoting the office of rector. However, the legislature approved the transfer which was signed into law on July 20, 1988. In July, CSP alumni violinist Vanessa Defilló entered the roles of Adjunct Dean of Administration and Director of Special Programs within the Conservatorio and of assistant director of the program. In August, Canino recommended Irma Ramos to replace him as harp professor of the CSP.
CAM and union protests Senator
Velda González led public hearings on irregularities involving the administration of the CAM, in particular its president, and which were funded by money that was supposed to go to the Conservatorio. By October, both professors and students were protesting against the CAM, its executive director Jorge Martínez Solá and the Conservatorio's General Council due to the lack of considerations to name Isern rector. Rodríguez Bou dismissed claims that Ivonne Figueroa was the most popular candidate, citing that it was not a popularity contest, with his original candidate (Roberto González) not being considered among the poll. On October 18, 1989, the community voted in favor of the destitution of all members of the General Council and Isern and requested investigations on CAM and Martínez Solá. The head of departments and academic legislature left their posts. The Unión de Empleados no Docentes del Conservatorio held strikes during which the administration spent $8,000 in legal fees and $12,200 in security guards, before relenting to an accord. On October 26, 1989, the Senate of Puerto Rico ordered an investigation on the matter. On December 13, 1989, the governor replaced Rovira with Juan Albors, who directly addressed the situation at the Conservatorio. The backlash led to Bou being ousted as president of the General Council. In 1990, Elfrén Flores received a non-guaranteed contract as professor of trombone and tuba. Manuel García received a spot as permanent professor. In 1994, Luis Biava was placed in charge of FOSJA. Luis Hernández Mergal was brought in to lead the Escuela Preparatoria del Conservatorio. In 1995, former two-time director of the Theory and Composition, Amaury Veray, died while still involved in the Conservatorio. That saw year, the Percussion Festival began. In 1998, Alicea's proposal for a stage band class was accepted and given to new arrival Andrew Lázaro. After being fired, José Ernesto Ayala was fired while his contract as trombone professor was still active, leading to a lawsuit. Under the administration of Gil, Dean of Academic Affairs José Rodríguez Alvira removed the directors of the departments. As part of the new structure, the Winds Department added Ricardo López.
Relocation and internal changes In 1999, Flores left after receiving a non-negotiated cut to his work hours. By the early 2000s, most of the Sinfónica's string sections were composed by graduates from the String Program. The new building, however, proved inadequate for the Conservatorio to function with the natural conditions provided by the ocean's proximity, forcing everything to run under an air conditioned setting that resulted in notable energy spending. The Department of Theory and Composition received a Musical Theory course, which mixed several areas of study. In 2002, Manuel Ceide was contracted to serve as director. When Law 223 (Ley de Música Autóctona y Tradición de Puerto Rico) was passed, senator María de Lourdes Santiago revisited the idea of offering a degree in
Puerto Rican cuatro. Iván Gutiérrez, a former student under Holland and Nowak, would later serve as professor of the Programa de Extensión. In 2006, William Woodruff joined the Singing Department. Control over the funds for the Orquesta System and Juvenile/Infantile Chorus was also proposed, but defeated before the Senate. During the following years, support for Gil dwindled and she was ousted following an investigation requested by the Board of Directors (led by Firpi) to Dean of Administration Juan Carlos Hernández in January 2013, being replaced by Hernández Mergal. His stay was brief and he was replaced by Carlos Conde. The Jazz and Caribbean Music Department was also created with brief consideration from the Academic Senate, leading to the program beginning with an emphasis on jazz but not touching on the eponymous regional (or Puerto Rican) music. Alfonso Fuentes made an assessment in 2010 arguing that the concept needed work, also noting that the Caribbean history was not actually being taught. Student participation in the MONCA continued until 2010. On May 20, 2011, the Conservatorio announced new degrees in Puerto Rican cuatro, Caribbean music and jazz. ==Academics==