naturalization as a Spanish subject. Later that month, the town council, duly impressed with his competence, appointed him interim holder of the desired position. Pagueras and Rensoli set out to make his work as difficult as possible. "When Goetz appeared before the choir, he was surrounded by pale, half-scared smiles" (Carpentier, p136). After looking, listening and questioning, he wrote a first report to the town council full of acute assessments of key members of the choir: "Cayetano Pagueras: Second contralto, terrible voice, no expressiveness. Almost blind... A good composer, but he doesn't know how to sing his own works." "Don Luis Lazo: Third contralto. Knows nothing of music, and never will. He entered the chapel fraudulently, and... is totally inept; superfluous." "Don Juan Alcayado: Third tenor. Terrible voice. He hardly attends, and when he does, he speaks constantly, disturbing the others... A totally useless human being. The position of third tenor is hereby abolished for its superfluousness." As a good musician, he reduced the number of positions, moved young singers up in status and recommended that any reduced in rank should retake the exam, both theoretical and practical. Under his plan in 1806, the singers and musicians were: choirmaster, four sopranos, two contraltos, two tenors, a baritone; two clarinets, two bassoons, two horns, four violins, bass viol, and bass. References 18th-century Austrian Roman Catholic priests Academic staff of the University of Vienna Austrian Roman Catholic missionaries Cuban composers Male composers 19th-century Cuban Roman Catholic priests 18th-century births 19th-century deaths Roman Catholic missionaries in Cuba Austrian expatriates in Cuba Cuban male musicians