So what what universalism and nationalism? The first barely knew the other was just budding. Its tradition was that of religious, diptychs, lamentations music and salves that babbled in the style of Stabat Mater by Rossini and joyous carols, remnants of colonial culture, which accompanied with bandolas and guitars and singing enthusiastically and even with true conviction religious.

The school who knew concerning the European music was opera and dance music. Pianists knew Henri Herz and Chopin, Liszt and some other instrumentalists were just a little beyond the parts of scores of opera. They had heard Beethoven and Schumann little and probably never Wagner. If we ask what they knew to professionals (or amateurs) of music a hundred years ago, we have to answer that knew more or less playing instruments and that these were old and unmaintained and obsoleted majority.

However, perhaps this was not the real dilemma.

In 1894, in the pages of the influential Grey Magazine, the young violinist Narciso Garay regrets the absence of 'national composers' in our country and calls for the need for 'a Chopin to purge the national airs', while admitting that the only way is through the 'constant treatment with classical authors and renowned for attempting to assimilate the essence of modern musical beauty.' Garay, who belonged to a family of professional artists (grandson of a fine sculptor and cabinetmaker and son of Epifanio, the painter), puts on the table the two alternatives that would be the crossroads for Colombian musicians of this century: Universalism and nationalism.

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