{"id":35382,"date":"2015-09-28T06:04:40","date_gmt":"2015-09-28T04:04:40","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=35382"},"modified":"2018-04-23T21:50:36","modified_gmt":"2018-04-23T19:50:36","slug":"los-discipulos-jose-ramon-hernandez-correa","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/los-discipulos-jose-ramon-hernandez-correa\/","title":{"rendered":"Los disc\u00edpulos | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez CorreaOs disc\u00edpulos | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez CorreaThe disciples | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa"},"content":{"rendered":"

<\/p>\n

El 11 de enero de 1863 Giuseppe Verdi<\/a><\/strong> lleg\u00f3 a Madrid para ver su \u00f3pera La Forza del Destino<\/em> en el Teatro Real.<\/p>\n

Se qued\u00f3 bastantes d\u00edas y vio la \u00f3pera varias veces.<\/p>\n

Se alojaba cerca del Teatro Real, y as\u00ed, adem\u00e1s de a ver la obra, le dio tiempo a conocer el ambiente del entorno, el mundillo que se formaba en el barrio con motivo de las representaciones y bajo su influencia.<\/p>\n

\n
\"\"<\/a>
Maestro Verdi<\/span>
Jean Laurent, Madrid, 1863<\/span><\/figcaption><\/figure>\n<\/div>\n

A ese entorno acud\u00edan, como ahora, estudiantes del conservatorio, m\u00fasicos callejeros, mendigos, vendedores de flores y de dulces, etc, buscando unas monedas de los selectos espectadores de la \u00f3pera.<\/p>\n

Verdi, con su alma de bohemio y su esp\u00edritu de buhonero callejero, se complac\u00eda curioseando por all\u00ed.<\/p>\n

Un d\u00eda vio a un organillero y se qued\u00f3 unos minutos escuch\u00e1ndole y, sobre todo, vi\u00e9ndole. Un buen organillero madrile\u00f1o era un espect\u00e1culo digno de ver: Su traje de chulap\u00f3n, su donaire, su alegre giro de manivela rematado con el codo a la remanguill\u00e9… Alguien debi\u00f3 de decirle al organillero qui\u00e9n era el insigne extranjero que le estaba viendo y escuchando, porque exager\u00f3 sus contoneos y su pose de desplante chulesco, lade\u00f3 a\u00fan m\u00e1s la gorra y moviendo la cadera como en una finta gir\u00f3 la manivela con el codo a\u00fan m\u00e1s aparatosamente.<\/p>\n

El gran m\u00fasico (me refiero al italiano) se acerc\u00f3 finalmente a \u00e9l y le dijo:<\/p>\n

\n

-Potrebbe suonare un po ‘pi\u00f9 piano?<\/em>
\n-\u00bfEh?
\n-Piu piano. Piu lento.<\/em><\/p>\n<\/blockquote>\n

Y el italiano acompasaba el tono de voz con un suave movimiento de sus manos para que el madrile\u00f1o le entendiera.<\/p>\n

Finalmente el organillero redujo la velocidad y dej\u00f3 que la m\u00fasica fluyera m\u00e1s despacio.
\nVerdi sonri\u00f3 y le dijo:<\/p>\n

\n

-Perfetto. Molto bene.<\/em><\/p>\n<\/blockquote>\n

Y se bes\u00f3 las puntas de sus dedos, indic\u00e1ndole m\u00edmicamente lo bien que estaba ahora su interpretaci\u00f3n musical.
\nEch\u00f3 unas monedas en el platillo y se fue de all\u00ed.
\nPor supuesto que el organillero sigui\u00f3 yendo al Teatro Real durante el resto de su vida. Pero a partir de entonces el organillo exhib\u00eda un cartel con su nombre y, debajo de \u00e9ste, la indicaci\u00f3n:<\/p>\n

\n

DISC\u00cdPULO DE DON JOS\u00c9 VERDI<\/p>\n<\/blockquote>\n

Me sirve esta an\u00e9cdota para plantearme y replantearme mi condici\u00f3n de disc\u00edpulo.
\n\u00bfNo nos pasa a todos un poco como al organillero, que presumimos de los maestros que hemos tenido, pero que quiz\u00e1 deber\u00edamos reconsiderar nuestro discipulado?
\nMe explicar\u00e9. Como estudiantes de arquitectura nos hemos formado en la escuela con grandes arquitectos. (Bueno; ya sabemos que los m\u00e1s grandes tienden a ense\u00f1ar en las escuelas m\u00e1s importantes, pero hasta en la m\u00e1s humilde hay maestros, si no c\u00e9lebres, s\u00ed muy buenos, muy dedicados y muy dignos de atenci\u00f3n).<\/p>\n

(Ya me he metido en el primer charco. Me dir\u00e9is:<\/p>\n

\n

\u00abHabr\u00e1s tenido grandes maestros t\u00fa, suertudo. Yo tuve a cada mequetrefe y a cada impresentable…\u00bb.<\/em><\/p>\n<\/blockquote>\n

Vale; de acuerdo. S\u00e9 que la masificaci\u00f3n de las escuelas implica que a uno le toque lo que le toque, pero tambi\u00e9n tengo que decir que, si bien algunos de los docentes no pueden alcanzar ni de lejos la enorme condici\u00f3n de maestros<\/em> y se quedan en la condici\u00f3n administrativa de profesores<\/em>, tambi\u00e9n muchos de los discentes ni desean ni aspiran a llegar a la hermos\u00edsima condici\u00f3n de disc\u00edpulos<\/em>, y se conforman con la burocr\u00e1tica de alumnos<\/em>. En primer curso uno es un pardillo y va como un tonto al aula que le toca, pero si, llegado a un cierto curso y nivel, en su escuela hay grandes ense\u00f1antes y uno se conforma con lo que le viene m\u00e1s c\u00f3modo, lo que le toca o lo que le cuadra con su horario, y no se preocupa de otras cosas, entonces merece lo que tiene).<\/p>\n

Embarrado en este charco, en el que supongo que he sido injusto con muchos de los lectores, me vuelvo a plantar en la situaci\u00f3n asim\u00e9trica y fertil\u00edsima del maestro y el disc\u00edpulo.<\/p>\n

Ya cont\u00e9 otro d\u00eda que por la Escuela de Madrid tuve algunas ocasiones para conocer a Molez\u00fan, a De la Sota, a Palazuelo y a muchos otros y no las aprovech\u00e9. Fui idiota.<\/p>\n

Ahora os cuento que a otros cuantos s\u00ed que los conoc\u00ed, y aprend\u00ed un mont\u00f3n de todos ellos, y ahora veo que todo ese mont\u00f3n no me ha servido para nada. (Me refiero a que no me ha servido para nada pr\u00e1ctico ni tangible. Para lo afectivo personal s\u00ed que me ha servido, y mucho).<\/p>\n

\u00bfQu\u00e9 arquitectura he hecho yo? \u00bfQu\u00e9 sigo haciendo? Me he plegado a los gustos de los promotores, a la oportunidad econ\u00f3mica, a la picard\u00eda profesional. He tenido algunas oportunidades de hacer arquitectura de verdad, y creo que no las he sabido aprovechar del todo.<\/p>\n

Siempre intent\u00e9 hacer la mejor arquitectura que fuera capaz de hacer, pero me temo que a menudo me rend\u00ed en seguida. La buena intenci\u00f3n no fue acompa\u00f1ada de determinaci\u00f3n, de fe, de seguridad, y me adapt\u00e9 demasiado f\u00e1cilmente a lo que se esperaba de m\u00ed.
\n\u00bfD\u00f3nde quedan, pues, mis maestros? \u00bfQu\u00e9 me dir\u00edan ahora? \u00bfMe comprender\u00edan? Espero que s\u00ed. \u00bfMe mirar\u00edan con conmiseraci\u00f3n o con desprecio? Supongo que no.<\/p>\n

\u00bfQu\u00e9 arquitectura hemos hecho entre todos durante todos estos a\u00f1os? \u00bfQu\u00e9 maestros tuvimos y c\u00f3mo los hemos honrado y agradecido con nuestras obras? No soy capaz de encontrar el nexo. Est\u00e1 todo demasiado turbio.<\/p>\n

Todo se ha ensuciado demasiado.
\nAl menos el organillero hizo lo que le dijo Verdi. El organillero fue un disc\u00edpulo fiel y orgulloso. \u00bfLo soy yo? \u00bfEstoy orgulloso? \u00bfLo estamos todos?<\/p>\n

Y, lo que es a\u00fan m\u00e1s vidrioso: \u00bfEstar\u00eda yo en condiciones de ense\u00f1arle algo a alguien? \u00bfPodr\u00eda yo dar ejemplo de algo.<\/p>\n

Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa \u00b7 Doctor Arquitecto
\nToledo \u00b7 octubre 2013<\/p>\n

PD.- Me gustar\u00eda much\u00edsimo que comentarais qu\u00e9 buenos maestros tuvisteis, y aprovecharais para decir algo bueno de ellos. (Si os toc\u00f3 alguno muy malo tambi\u00e9n pod\u00e9is desahogaros, pero me har\u00eda mucha m\u00e1s ilusi\u00f3n leer elogios y evocar buenos recuerdos). Gracias a todos.<\/p>\n

<\/p>\n

On January 11\u00a0Giuseppe Verdi<\/a><\/strong> came to Madrid to see his opera The Forza of the Destination in the Royal Theatre.<\/p>\n

It remained enough days and the opera saw several times.<\/p>\n

It was lodging near the Royal Theatre, besides to seeing the work, it had time him to knowing the environment of the environment, the world that was formed in the neighborhood on the occasion of the representations and under his influence.<\/p>\n

\n
\"\"<\/a>
Teacher Verdi<\/span>
Jean Laurent, Madrid, 1863<\/span><\/figcaption><\/figure>\n<\/div>\n

To this environment they were coming, since now, students of the conservatoire, street musicians, beggars, sellers of flowers and of sweets, etc, looking for a few coins of the select spectators of the opera.<\/p>\n

Verdi, with his Bohemian’s soul and his spirit of street hawker, was taking pleasure snooping there.<\/p>\n

One day saw an organillero and remained a few minutes listening to him and, especially, seeing him. A good organillero of Madrid was a spectacle worth seeing: His rascal’s suit, his charm, his happy draft of crank finished off with the elbow to the remanguill\u00e9… Someone had to of saying to the organillero who was the celebrated foreigner who saw him and listening, because it exaggerated his swayings and his pose of rudeness chulesco, it tilted furthermore the cap and moving the hip since in a feint it turned the crank with the elbow furthermore aparatosamente.<\/p>\n

The great musician (I refer to the Italian) approached finally him and said to him:<\/p>\n

\n

-Potrebbe suonare un po ‘pi\u00f9 piano?<\/em><\/p>\n

-\u00bfEh?<\/p>\n

-Piu piano. Piu lento.<\/em><\/p><\/blockquote>\n

And the Italian was measuring with a compass the tone of voice with a soft movement of his hands in order that the person from Madrid understood him.<\/p>\n

Finally the organillero reduced the speed and allowed that the music should flow more slow.<\/p>\n

Verdi smiled and said to him:<\/p>\n

\n

-Perfetto. Molto bene.<\/em><\/p>\n<\/blockquote>\n

And one kissed the tops of his fingers, indicating him mimically well that his musical interpretation was now.<\/p>\n

He threw a few coins in the saucer and went away of there.<\/p>\n

Certainly that the organillero continued going to the Royal Theatre during the rest of his life. But from then the hurdy-gurdy was exhibiting a cartel with his name and, under this one, the indication:<\/p>\n

\n

DISCIPLE OF MISTER\u00a0G. VERDI<\/p>\n<\/blockquote>\n

It serves this anecdote me to appear and my disciple’s condition to rethink.<\/p>\n

Does not it go on to all a bit like to the organillero, which we presume of the teachers that we have had, but that probably we should reconsider our pupils?<\/p>\n

I will explain. Since students of architecture we have been formed in the school with big architects. (Good; already we know that the biggest stretch to teach in the most important schools, but up to in the humblest there are teachers, if not famous, yes very good, very dedicated and very worthy of attention).<\/p>\n

(Already I have got into the first puddle. You will say to me:<\/p>\n

\n

\u00abYour you had big main, suertudo. I had every whippersnapper and every unpresentable one…\u00bb.<\/em><\/p>\n<\/blockquote>\n

It costs; in agreement. I know that the mass-production of the schools implies that one touches what he touches, but also I have to say that, though some of the teachers cannot reach not of far the teachers<\/em>‘ enormous condition and many of the discentes remain in the teachers<\/em>‘ administrative condition, also they do not even wish aspire to come to the disciples<\/em>‘ most beautiful condition, and conform to the pupils<\/em>‘ bureaucratic one. In the first course one is a linnet and goes as an idiot to the classroom that he touches, but if, come to a certain course and level, in his school there are big ense\u00f1antes and one conforms what him comes more comfortable, which he touches or what him fits with his schedule, and does not worry about other things, then there deserves what has).<\/p>\n

Bedaubed in this puddle, in which I suppose that I have been unjust with many of the readers, I return to plant the asymmetric situation and fertil\u00edsima of the teacher and the disciple.<\/p>\n

Already I told another day that as the School of Madrid I had some occasions to know Molez\u00fan, to Of the Jack, and to different many and them I did not take advantage of Palazuelo. I was idiotic.<\/p>\n

Now I tell you that to others all those yes that I knew them, and I learned a heap of all of them, and now I see that all this heap has not served me for anything. (I refer that has not served me for anything practical not tangibly. For the personal affective thing yes that has served me, and much).<\/p>\n

What architecture have I made I? What do I continue doing? I have bent to the tastes of the promoters, to the economic opportunity, to the professional mischievousness. I have had some opportunities to do architecture indeed, and believe that I have not could take advantage of them completely.<\/p>\n

Always I tried to do the best architecture that was capable of doing, but I am afraid that often I gave up myself immediately. The good intention was not accompanied of determination, of faith, of safety, and I adapted too easily what was expected from me.<\/p>\n

Where do they remain, so, my teachers? What would they say to me now? Would they understand me? I wait that yes. Would they look at me with commiseration or scornfully? I suppose that not.<\/p>\n

What architecture have we done between all during all these years? What teachers we had and how have we honored and been grateful for them with our works? I am not capable of finding the link. It is quite too turbid.<\/p>\n

Everything has got dirty too much.<\/p>\n

At least the organillero did what Verdi said to him. The organillero was a faithful and proud disciple. Am I it I? Am I proud? It are we all?<\/p>\n

And, which is furthermore glassy: would I be in conditions to teach something to someone? I might give example of something.<\/p>\n

Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa \u00b7 Doctor Architect<\/p>\n

Toledo \u00b7 october 2013<\/p>\n

PD.- I would like very much that you were commenting what good teachers you had, and you were useful to say something good of them. (If you touched very bad someone also you can relax, but it would make to myself more illusion great to read praises and to evoke good recollections). Thanks to all.<\/p>\n

<\/p>\n

O 11 de xaneiro de 1863\u00a0Giuseppe Verdi<\/a><\/strong> chegou a Madrid para ver a s\u00faa \u00f3pera La Forza del Destino no Teatro Real.<\/p>\n

Quedouse bastantes d\u00edas e viu a \u00f3pera varias veces.<\/p>\n

Alox\u00e1base preto do Teatro Real, e as\u00ed, ademais da ver a obra, deulle tempo a co\u00f1ecer o ambiente do \u00e1mbito, o mundo que se formaba no barrio con motivo das representaci\u00f3ns e baixo a s\u00faa influencia.<\/p>\n

\n
\"\"<\/a>
Maestro Verdi<\/span>
Jean Laurent, Madrid, 1863<\/span><\/figcaption><\/figure>\n<\/div>\n

A ese \u00e1mbito acud\u00edan, como agora, estudantes do conservatorio, m\u00fasicos na r\u00faa, mendigos, vendedores de flores e de doces, etc, buscando unhas moedas dos selectos espectadores da \u00f3pera.<\/p>\n

Verdi, coa s\u00faa alma de bohemio e o seu esp\u00edrito de quincalleiro na r\u00faa, comprac\u00edase pescudando por al\u00ed.<\/p>\n

Un d\u00eda viu un pianista de manubrio e quedou uns minutos escoit\u00e1ndoo e, sobre todo, v\u00e9ndoo. Un bo pianista de manubrio madrile\u00f1o era un espect\u00e1culo digno de ver: O seu traxe de chulap\u00f3n, o seu donaire, o seu alegre xiro de manivela rematado co c\u00f3bado \u00e1 remanguill\u00e9… Algu\u00e9n debeu de dicirlle ao pianista de manubrio quen era o insigne estranxeiro que o estaba a ver e escoitaba, porque esaxerou os seus bambeos e a s\u00faa pose de desplante chulo, ladeou a\u00ednda m\u00e1is a gorra e movendo a cadeira como nunha finta xirou a manivela co c\u00f3bado a\u00ednda m\u00e1is aparatosamente.<\/p>\n

O gran m\u00fasico (ref\u00edrome ao italiano) achegouse finalmente a el e d\u00edxolle:<\/p>\n

\n

-Potrebbe suonare un po ‘pi\u00f9 piano?<\/em><\/p>\n

-\u00bfEh?<\/p>\n

-Piu piano. Piu lento.<\/em><\/p><\/blockquote>\n

E o italiano compasaba o ton de voz cun suave movemento das s\u00faas mans para que o madrile\u00f1o o entendese.<\/p>\n

Finalmente o pianista de manubrio reduciu a velocidade e deixou que a m\u00fasica flu\u00edse m\u00e1is devagar.<\/p>\n

Verdi sorriu e d\u00edxolle:<\/p>\n

\n

-Perfetto. Molto bene.<\/em><\/p>\n<\/blockquote>\n

E bicouse as puntas dos seus dedos, indic\u00e1ndolle m\u00edmicamente o ben que estaba agora a s\u00faa interpretaci\u00f3n musical.<\/p>\n

Botou unhas moedas no prato e foise de al\u00ed.<\/p>\n

Por suposto que o pianista de manubrio seguiu indo ao Teatro Real durante o resto da s\u00faa vida. Pero a partir de ent\u00f3n o piano de manubrio exhib\u00eda un cartel co seu nome e, debaixo deste, a indicaci\u00f3n:<\/p>\n

\n

DISC\u00cdPULO DE DON XOS\u00c9 VERDI<\/p>\n<\/blockquote>\n

S\u00e9rveme esta an\u00e9cdota para formularme e reformularme a mi\u00f1a condici\u00f3n de disc\u00edpulo.<\/p>\n

\u00bfNon nos pasa a todos un pouco como ao pianista de manubrio, que presumimos dos mestres que tivemos, pero que quizais deberiamos reconsiderar o noso discipulado?<\/p>\n

Explicareime. Como estudantes de arquitectura form\u00e1monos na escola con grandes arquitectos. (Bo; xa sabemos que os m\u00e1is grandes tenden a ensinar nas escolas m\u00e1is importantes, pero ata na m\u00e1is humilde hai mestres, se non c\u00e9lebres, si moi bos, moi dedicados e moi dignos de atenci\u00f3n).<\/p>\n

(Xa me met\u00edn no primeiro charco. Dir\u00e9desme:<\/p>\n

\n

\u00abTer\u00e1s tido grandes mestres ti, suertudo. Eu tiven cada mequetrefe e a cada impresentable…\u00bb.<\/em><\/p>\n<\/blockquote>\n

Vale; de acordo. Sei que a masificaci\u00f3n das escolas implica que a un lle toque o que lle toque, pero que tam\u00e9n te\u00f1o que dicir que, se ben alg\u00fans dos docentes non poden alcanzar nin de lonxe a enorme condici\u00f3n de mestres<\/em> e quedan na condici\u00f3n administrativa de profesores<\/em>, tam\u00e9n moitos dos discentes nin desexan nin aspiran a chegar \u00e1 fermosa condici\u00f3n de disc\u00edpulos<\/em>, e conf\u00f3rmanse coa burocr\u00e1tica de alumnos<\/em>. En primeiro curso un \u00e9 un pardal e vai como un parvo \u00e1 aula que lle toca, pero se, chegado a certo curso e nivel, na s\u00faa escola hai grandes ensinantes e un se conforma co que lle v\u00e9n m\u00e1is c\u00f3modo, o que lle toca ou o que lle cadra co seu horario, e non se preocupa doutras cousas, ent\u00f3n merece o que ten).<\/p>\n

Embarrado neste charco, no que supo\u00f1o que fun inxusto con moitos dos lectores, v\u00f3lvome plantar na situaci\u00f3n asim\u00e9trica e fertil\u00edsima do mestre e o disc\u00edpulo.<\/p>\n

Xa contei outro d\u00eda que pola Escola de Madrid tiven algunhas ocasi\u00f3ns para co\u00f1ecer a Molez\u00fan, a De la Sota, a Palazuelo e a moitos outros e non as aproveitei. Fun idiota.<\/p>\n

Agora c\u00f3ntovos que a outros cantos si que os co\u00f1ec\u00edn, e aprend\u00edn un mont\u00f3n de todos eles, e agora vexo que todo ese mont\u00f3n non me serviu para nada. (Ref\u00edrome a que non me serviu para nada pr\u00e1ctico nin tanxible. Para o afectivo persoal si que me serviu, e moito).<\/p>\n

\u00bfQue arquitectura fixen eu? \u00bfQue sigo facendo? Te\u00f1o pregadura aos gustos dos promotores, \u00e1 oportunidade econ\u00f3mica, \u00e1 picard\u00eda profesional. Tiven algunhas oportunidades de facer arquitectura de verdade, e creo que non as souben aproveitar de todo.<\/p>\n

Sempre intentei facer a mellor arquitectura que fose capaz de facer, pero t\u00e9mome que a mi\u00fado me rend\u00edn axi\u00f1a. A boa intenci\u00f3n non foi acompa\u00f1ada de determinaci\u00f3n, de fe, de seguridade, e adapteime demasiado doadamente ao que se esperaba de min.<\/p>\n

\u00bfOnde quedan, pois, os meus mestres? \u00bfQue me dir\u00edan agora? \u00bfComprender\u00edanme? Espero que si. Mirar\u00edanme con conmiseraci\u00f3n ou con desprezo? Supo\u00f1o que non.<\/p>\n

\u00bfQue arquitectura fixemos entre todos durante todos estes anos? \u00bfQue mestres tivemos e como os hemos honrado e agradecidos coas nosas obras? Non son capaz de encontrar o nexo. Est\u00e1 todo demasiado turbio.<\/p>\n

Todo se ensuciou demasiado.<\/p>\n

Polo menos o pianista de manubrio fixo o que lle dixo Verdi. O pianista de manubrio foi un disc\u00edpulo fiel e orgulloso. \u00bfSono eu? \u00bfEstou orgulloso? \u00bfEst\u00e1molo todos?<\/p>\n

E, o que \u00e9 a\u00ednda m\u00e1is vidroso: Estar\u00eda eu en condici\u00f3ns de ensinarlle algo a algu\u00e9n? Poder\u00eda dar eu exemplo de algo.<\/p>\n

Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa \u00b7 Doutor Arquitecto<\/p>\n

Toledo \u00b7 ootubro 2013<\/p>\n

PD.- Gustar\u00edame moito que coment\u00e1sedes que bos mestres tivestes, e aproveit\u00e1sedes para dicir algo bo deles. (Se vos tocou alg\u00fan moi malo tam\u00e9n podedes desafogarvos, pero far\u00edame moita m\u00e1is ilusi\u00f3n ler eloxios e evocar bos recordos). Grazas a todos.<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

El 11 de enero de 1863 Giuseppe Verdi lleg\u00f3 a Madrid para ver su \u00f3pera La Forza del Destino en el Teatro Real. Se qued\u00f3 bastantes d\u00edas y vio la \u00f3pera varias veces. Se alojaba cerca del Teatro Real, y as\u00ed, adem\u00e1s de a ver la obra, le dio tiempo a conocer el ambiente del […]<\/p>\n","protected":false},"author":33,"featured_media":44018,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[93,2631,12449,9091,9092,9093,3653,815,8555,1136,1269],"class_list":["post-35382","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura-espanola","tag-arte","tag-discipulo","tag-guiseppe-verdi","tag-jean-laurent","tag-jose-ramon-hernandez-correa","tag-maestro","tag-pablo-palazuelo","tag-ramon-vazquez-molezun","tag-teatro"],"yoast_head":"\nLos disc\u00edpulos | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa<\/title>\n<meta name=\"description\" content=\"Los disc\u00edpulos\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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