La Pepita is a word that means several things in Puerto Rico, but was used during the third quarter of the 19th Century by composers in Puerto Rico, pejoratively and subversively to refer to the various military acts, movements, manoeuvres, interdictions and ordinances that were ordered by the Spanish crown
Arturo P. Pasarell (1866-1936), like his friend and counterpart Juan Morel Campos, is from Ponce, Puerto Rico but was born in Barcelona. His father, a well-respected and established teacher of piano gave him a solid ingraining in music theory, viola and piano. In addition to becoming a published and beloved composer of music, Arturo established himself as a pianist, organist, and orchestra conductor. Dr. Esteban Moreno, who first recorded La Pepita for RCA Victor, writes in his liner notes for the album: . . . “within the musical traditions of Ponce, Pasarell imprinted upon the Puerto Rican Danza its academic seal, imparting it with his original style, as well as adding to it his unique mastery of chromaticism.”
About the title, La Pepita is a word that means several things in Puerto Rico, but was used during the third quarter of the 19th Century by composers in Puerto Rico, pejoratively and subversively to refer to the various military acts, movements, manoeuvres, interdictions and ordinances that were ordered by the Spanish crown. The cry of Independence that was being loudly launched by the Spanish Colonies, resulted in Spain reinforcing its Spanish garrisons and sending out and installing in San Juan for example, a regiment replete with a military band that would be dispersed throughout the Island.
