the provincially minded Italian public. His neoclassical compositions were perhaps less important than his organizing activities, but especially representative examples include Scarlattiana of 1926, using motifs from Domenico Scarlatti's keyboard sonatas, and the Concerto romano of the same year. Casella's colleague Mario Castelnuovo-Tedesco wrote neoclassically-inflected works which hark back to early Italian music and classical models: the themes of his Concerto italiano in G minor of 1924 for violin and orchestra echo Vivaldi as well as 16th- and 17th-century Italian folksongs, while his highly successful Guitar Concerto No. 1 in D of 1939 consciously follows Mozart's concerto style. Portuguese representatives of neoclassicism include two members of the "Grupo de Quatro", Armando José Fernandes and Jorge Croner de Vasconcellos, both of whom studied with Nadia Boulanger. In South America, neoclassicism was of particular importance in Argentina, where it differed from its European model in that it did not seek to redress recent stylistic upheavals which had simply not occurred in Latin America. Argentine composers associated with neoclassicism include Jacobo Ficher, , Luis Gianneo, and Juan José Castro. The most important 20th-century Argentine composer, Alberto Ginastera, turned from nationalistic to neoclassical forms in the 1950s (e.g., Piano Sonata No. 1 and the Variaciones concertantes) before moving on to a style dominated by atonal and serial techniques. Roberto Caamaño, professor of Gregorian chant at the Institute of Sacred Music in Buenos Aires, employed a dissonant neoclassical style in some works and a serialist style in others. Although the well-known Bachianas Brasileiras of Heitor Villa-Lobos (composed between 1930 and 1947) are cast in the form of Baroque suites, usually beginning with a prelude and ending with a fugal or toccata-like movement and employing neoclassical devices such as ostinato figures and long pedal notes, they were not intended so much as stylized recollections of the style of Bach as a free adaptation of Baroque harmonic and contrapuntal procedures to music in a Brazilian style. Brazilian composers of the generation after Villa-Lobos more particularly associated with neoclassicism include Radamés Gnattali (in his later works), Edino Krieger, and the prolific Camargo Guarnieri, who had contact with but did not study under Nadia Boulanger when he visited Paris in the 1920s. Neoclassical traits figure in Guarnieri's music starting with the second movement of the Piano Sonatina of 1928, and are particularly notable in his five piano concertos. The Chilean composer Domingo Santa Cruz Wilson was so strongly influenced