Rico Stover tells us that Barrios wrote Julia Florida in December of 1938 while living in Costa Rica. It was apparently a difficult time for the composer due to diminishing health and a lack of regular employment. Julia Florida was dedicated to Francisco Salazar’s niece, Julia Martinez whom Barrios taught.

In a recent email Richard elaborated:
“I met Julia in Costa Rica. She told me that Barrios smoked a lot and was a bit nervous. Maybe because she was so beautiful and he of course wanted her but restrained himself…. or maybe not? She never let on to me that anything at all went down between them and I somehow think that was the case. But, knowing Mangore’s history with women, I wouldn’t rule it out either.

And of course you know why she was called “ Julia Florida” by her family? She grew very fast in adolecence, ”bloomed” and “shot up” at an early age (“florida’ means “bloomed” form florece = to bloom or flower).”

He must have been extremely fond of Ms. Martinez to write such a masterpiece. To quote again from Rico’s wonderful book, Leo Brouwer remarked:" Barrios’s mind and the structure of his thoughts were romantic. Just as Bach continued to write suburb baroque music up to the year of his death (1750), well after the high baroque period had come to an end, Barrios was writing exquisite romantic music long after its passing in Europe”

From:

http://www.benjaminverdery.com/bens-deep-thoughts/2014/12/12/reflections-on-agustin-barrios-mangores-julia-florida

Sorry for the lack of posts, I've been very busy lately.

Here is one of my favorite current violinists on how to understand certain aspects of phrasing. This can help non-musicians understand what to listen for and how to clearly hear ideas in music and will definitely help all musicians articulate their thoughts and lines in a more musical way.

https://youtu.be/BEjRIXuUlCU

If any of you have suggestions for future posts, please message me. I'd be happy to either post it or expand on it. Credit and thanks to you, of course. Have a good weekend everyone.

Ignacy Feliks Dobrzyński 1807-1867 was a Polish composer born in what is now North-western Ukraine. He came from a musical family, his father being a famous violinist serving at the court of Count Józef Illinski. Following in his father's footsteps, Ignacy went to study at the Warsaw Conservatory.

There, Ignacy studied alongside Chopin under the guidance of the famous Józef Elsner. Elsner was amazed at Ignacy and considered him a genius. Though Ignacy studied with one of the greatest pianists, Chopin, he was not overshadowed by him. At 28, he composed his Symphony no.2 in C minor and won second place at a composing competition in Vienna, parts of which were later performed in Leipzig and Warsaw with Felix Mendelssohn conducting.

He stayed in Warsaw for a while, teaching and composing very successfully in an early romantic style rooted in late classicism, a characteristic of the Polish composers of that period.

In 1845 he began to travel around Europe performing and bringing more attention to his compositions. During that period, he was forbidden to return to Poland because he wrote some Polish patriotic music based on a poem by Adam Mickiewicz. This decision proved to be just a slap on the wrist, as he returned after the 2 year trip ending in 1847.

He spent the rest of his life in Warsaw teaching, composing and conducting. He formed a successful orchestra, was a founding member of the Institute of Music, and a member of the Lvov Music Society. In his later years he focused all his efforts into composing.

He was succeeded by his son, Bronisław, who continued his legacy of music. Sadly, Ignacy's popularity began to fade as the 20th century appeared, though his legacy and work live on. Perhaps a Polish classical revival is due.

Special thanks to @InfernoXV for bringing this composer to my attention and suggesting these beautiful Nocturnes.

Taken from my collection of old sheet music. These little pieces of paper have such a history.