Ernesto de Quesada was born in the Oriente, in Manzanillo, Cuba,[2] when Cuba was still a Spanish colony (see the history of Cuba). After he completed high school and college, he devoted himself for a time to teaching guajiros how to read, riding his horse or walking long distances to reach them. (In Cuba, guajiro is a synonym for campesino (peasant).[3])
In 1905, with his income from teaching and some additional funds borrowed from his parents, de Quesada went to the United States. There he studied English for some months in Boston, Massachusetts, attending church on Sundays to listen to the services and accustom his ears to the new language. He enrolled at Harvard University, where one of his fellow students was Julio Cesar Tello, who would later become an archaeologist in Peru. They remained friends for many years.[4] After completing his philosophy studies at Harvard, de Quesada went to Germany.
Career
In 1908, in Berlin, de Quesada founded the concert management company Konzertdirektion H. Daniel. As he was only 22 years old and the agency's sole proprietor, he invented an imaginary senior business partner, "Herr Heinrich Daniel," who was said to be out of town whenever anyone asked to speak to him.[5]
In Spain, Ernesto de Quesada also created “Associations for Musical Culture,”[5][9] founding an Asociación de Cultura Musical in each of more than fifty cities in Spain, including small towns where people had never before heard a classical music recital. He also loaned each of them a piano de cola — a grand piano — without asking for payment. These associations nearly disappeared during the Spanish Civil War, as did the pianos.
During the Spanish Civil War and World War II, Conciertos Daniel was primarily active in Latin America,[5][10] expanding throughout the continent, where de Quesada's sons Alfonso,[1] Enrique, and Ernesto Jr. worked closely with him. (As correspondence in the mid-1940s with members of the Léner Quartet reveals, concert management tasks were not always straightforward or simple.[11]) Ernesto de Quesada's youngest son, Ricardo de Quesada,[12][13] head of the agency in Madrid since his father died in 1972, reorganised it as Hispania Clásica in 1996. One of the founder's grandsons, Enrique de Quesada, Jr.[13][14] in Caracas, is its director for Latin America.
Ernesto de Quesada also founded La Sociedad Artística Daniel[15][16] and La Sociedad Musical Daniel.[17] La Sociedad Musical Daniel was the organizing force on the Latin American side for a twenty-eight-week U.S. government-sponsored ballet tour of Latin America in 1941,[18][19][20] which was said by Dance Magazine to have been "the first example of an American government's support of dance."[21]
^Harvey Sachs, p. 153, Rubinstein: A Life.Grove Press (1995). Hardcover first edition: ISBN0-8021-1579-9, ISBN978-0-8021-1579-9. “In My Young Years, Rubinstein incorrectly stated that his first major Spanish tour began early in January in 1916 and that he signed a contract with young Ernesto de Quesada and his Madrid-based Daniel Concert Agency when the tour was already well along. The tour really began in the second half of February 1916 and was organised from the start by the Cuban-born Quesada… He had met Rubinstein at San Sebastián the previous summer and had immediately begun to organize his 1916 Spanish itinerary. Indeed, the directors of the local Philharmonic Society in Bilbao, where Rubinstein made two of his earliest appearances on the tour, on February 23 and 24, had complained that Quesada was sending them Rubinstein instead of the more celebrated Teresa Correño or Busoni. But after the first concert their complaints dissipated…”
^ abDaniel Barenboim, p. 40, A Life in Music.London: Weidenfeld & Nicolson (1991). Hardcover first edition: ISBN0-297-81163-0. ISBN978-0-297-81163-3. “One day, Mrs. Rubinstein phoned to ask whether I could come to their house that evening. There were a great many people there, including Sol Hurok and Ernesto de Quesada — the latter had been Rubinstein's manager in Spain and Latin America since the First World War… Rubinstein practically negotiated my first contract for me!”
^Kosloff, Alexander (October 1966). "Mexico's Conservatory of Music". Music Educators Journal. 53 (2): 97–101. JSTOR3390789. There are two main concert management bureaus in Mexico, the Conciertos Daniel and Instituto Nacional des Belles Artes. Their series present a wide range of international artists.
^"Brief biography of Ricardo de Quesada". Hispania Clásica. Archived from the original on 2007-08-07. Born in Madrid, he and his family left Spain during the Civil War and initially settled in Mexico, where he went to grade school in "Colegio Cristóbal Colón", studying privately at the time violin. Every summer, after 1949, he and his parents spent their holidays in Spain at their property located in the base of Peñon de Ifach in Alicante.
^"sTRANGE mUSIC - nEWS". PatrickGrant.net. Archived from the original on 2007-09-29. The Sociedad Artística Daniel is in charge of Paralelo's programming. The Sociedad, founded in New York City almost one hundred years ago, has been responsible for the promotion of classical music in North and South America as well as in Europe.
^Célida P. Villalón; translation by Vivian Villalón (August 2007). "The "Other" Ballet Russes". Danza Ballet. The [1941] season in Havana (sponsored by Sociedad Musical Daniel, and the impresario Ernesto de Quesada) … included marvelous ballets, some of which had never been seen in Cuba before.
^Naima Prevots (December 1999). "Funding for DANCE - federal aid to the arts". Dance Magazine. Another brief flurry of government activity in arts sponsorship occurred in 1940, one year before the United States entered World War II. Roosevelt saw the need to counter anti-Americanpropaganda in Latin America. Nelson Rockefeller, whose official title was Coordinator of Inter-American Affairs, was charged with developing short-term exchange initiatives. … It was for this tour that Balanchine created Ballet Imperial and Concerto Barocco, major works and his first ballets in pure dance form. American Ballet Caravan performed throughout Latin America for twenty-eight weeks at a cost of $100,000 — the first example of an American government's support of dance.
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