Today’s date in 1922 marks the birthday of Héctor Campos Parsi, one of Puerto Rico’s finest composers.

Campos Parsi originally planned to become a doctor, but after a meeting with the Mexican composer Carlos Chávez, ended up studying music at the New England Conservatory in 1949 and 1950 with the likes of Aaron Copland, Olivier Messiaen and Serge Koussevitzky, and between 1950 and 1954 with Paul Hindemith at Yale and with Nadia Boulanger in Paris.

Returning to Puerto Rico, Campos Parsi pursued a dual career: as a writer, he contributed short stories, essays, poems to Puerto Rican magazines, and wrote music reviews and articles for island newspapers. As a composer, he wrote instrumental and vocal works for chamber, orchestral, and choral ensemble. Two of his best-known works are Divertimento del Sur, written for string orchestra with solo flute and clarinet, and a piano sonata dedicated to Puerto Rican pianist Jesús María Sanromá.

As a musicologist, Campos Parsi wrote entries for music encyclopedias and served as the director of the IberoAmerican Center of Musical Documentation and as composer-in-residence at the University of Puerto Rico at Cayey, where died in 1998 at 75.

Héctor Campos Parsi (1922-1998): Divertimento del Sur; Members of the Casals Festival Orchestra; Milton Katims, conductor; Smithsonian Folkways COOK-01061

The old adage, “If at first you don’t succeed, try, try again” pretty much sums up the career of the French composer Georges Bizet.

Bizet died at 36 in 1875, the same year his opera Carmen premiered. Now, Carmen soon became acknowledged as one of the great masterworks of French opera, but poor Monsieur Bizet wasn’t around to experience any of that.

Moreover, Carmen was preceded by Bizet’s no less than 30 attempts writing a hit opera. Most never made it to the stage, and the few that did, achieved only modest success.

Set in exotic Ceylon, Les Pêcheurs de Perles, or The Pearl Fishers, the most famous of the “pre-Carmen” Bizet operas premiered on today’s date in 1863.

It ran for 18 performances, and, although applauded by its first audiences, was roundly panned by the press. Only one music critic saw any merit in Bizet’s opera, and that critic just happened to be the great French Romantic composer Hector Berlioz.

Even so, Pearl Fishers wasn’t revived until long after Bizet’s death, and some 30 years after its premiere. Today, after Carmen of course, it’s his second most popular opera.

Georges Bizet (1838-1875): Prelude from The Pearl Fishers; Mexico City Philharmonic; Enrique Batiz, conductor; ASV 6133

Georges Bizet (1838-1875): Au Fond du Temple Saint, from The Pearl Fishers; Placido Domingo, tenor; Sherrill Milnes, baritone; London Symphony; Anton Guadagno, conductor; BMG 62699

Yes, Juliet, a rose by any other name may smell as sweet, but a catchy title alone can’t help a piece of music that’s uninspired or just plain boring. An intriguing title, however can sometimes help put audiences into a more receptive frame of mind — or at least pique their curiosity.

From the very beginning of his career in the 1980s, the young American composer Michael Torke had the knack of coming up with evocative titles. His early works had titles like Ecstatic Orange and Bright Blue Music. A piece composed for the 1994 Olympic Games in Atlanta was titled Javelin, and this music, an orchestral suite that premiered in Amsterdam on today’s date in 1997, was titled Overnight Mail.

And each of the three movements of his orchestral suite had an additional title, as Torke explains:

“The titles of the suite’s three movements, Priority, Standard, and Saturday Delivery present the options for expediency when sending things, but musically, they represent different reactions to an abstract compositional problem I set up for myself … for me this was important, because I want to write music that follows all the old rules of voice leading and counterpoint, but sounds fresh.”

Michael Torke (b. 1961): Overnight Mail; Orkest de Volharding; Jurjen Hempel, conductor; Argo 455 684