In comparison to his brother, Eduardo Agramonte, Emilio Agramonte may seem like something of the milquetoast. In the end, the previous was a fearless soldier of star and a doctor and author of armed forces music who found his death within an 1872 fight through the Cuban Battle of Independence, the consequence of chaotic connections between a hands grenade and a blunderbuss. Emilio Agramonte survived in to the following century by sticking with very much safer activity such as for example playing piano, teaching performing, and directing choirs. With regards to actual musical efforts, the fearless soldier brother is most beneficial known for a couple of bugle calls ideal for from storming the enemy’s fort to polishing latrines, collectively referred to as “The Torques Militares.” In stark and tranquil comparison, Emilio Agramonte has an interesting exemplory case of a Cuban musician whose contribution was to traditional music, not really the Latin picture. In the middle-1860s, Agramonte researched rules in Spain, attaining a degree regardless of the diversion of music research that he made a decision to continue in other areas of European countries. He learned plenty of to get an important shape to learners of opera and oratorio in NEW YORK a few years later. He began his own college and headed in the Gounod Culture for a few 15 years. He came back home when the brand new Cuban republic was founded in 1902 and survived almost before end of the next decade. During this time period he began the Chaminade Choral Culture, located in Havana. Agramonte also trained on the Havana Municipal Academy of Music.