I only knew this composer from a few guitar pieces until recently.
His compositions span the gamut, including several soundtracks. There is little about him in The New Grove and other standard English sources.
I am going to "borrow" Heguaburo's write-up on this musician and hope I won't be facing an Uraguay junta:
On May 6, 1917 Jaurés was born in the city of Salto, Republic Of Uruguay.
At the age of 8, his mother took him to learn the violin technique with the Mtro. Monetti and piano with prof. María Victoria Varela.
The family of Jaurés moved to Montevideo and there with 17 years of age, continued its studies with the teacher Kolischer.
At 22, he decided that in order to pay for his studies, he began to visit the nightclubs of the "old city," performing on the piano music of boleros and romantic songs in his father's café "Montevideo".
He performed jazz music in the cabaret "Capitol Dancing." performed jazz music and came to the varieté. He also integrated the typical orchestra of Luis Caruso that appeared in "Café Tabarís".
He made musical accompaniments to artists like Lolita Torres, Sofia Bozán, Hugo del Carril.
He also appeared in radio and television programs where he interpreted the music that the listeners at the time asked him.
These experiences enriched his knowledge and musical memory on popular themes.
He studied composition with the teacher Guido Santórsola, Tomás Mujica and Casal Chapí.
Jaurés enjoyed Uruguayan national music, grew up with it, was part of it, had in his memory the rhythm of the syncopated figures of urban folklore. He also had a strong background as a composer, so from cabaret folk music to Baroque, JS Bach's Minuets and Inventions and the ethnomusicology of the contemporary Hungarian Bèla Bartock, he created a unique and personal structure, with clear exposure and balance. His work does not produce an imitation or pick up elaborate forms, but works with a process of abstraction, stylization and decantation, with melodic, rhythmic and own dissonance. This form is called "expressive, aesthetic tropes", which define the cultural identity of the composer.
In the first stage of the Uruguayan Nationalism, there are outstanding musicians such as Eduardo Fabini with his creations of classical musical forms, tonalities and melodies evoking sounds from Uruguayan countryside, Alfonso Brocqua, Luis Cluzeau Mortet, composers of "rural folkloric slope" among others.
Jaurés Lamarque Pons belongs to the second stage of Uruguayan Nationalism "slope of urban folklore".
When we hear the Tango theme of the opera "Marta Gruni" we can discover the rhythm of a tango as avant-garde as it is typical of its style. It begins in a tactical, in a minor tone, with the theme of intimate, very expressive character, of continuous modulation that enriches the melody. Creating nuances ranging from the piano, melancholy, to near the end, where it reaches the climax of a dramatic, to conclude in the perfect cadence typical of the tango.
It is quite a challenge, where it denotes an exceptional work of both composition and research.
Also among his works is the "Milonga Suite Rioplatense", a composition that begins with a strong tonic chord attack, followed by a staccato incision in the introduction to bring the theme. It recognizes the rhythm of a lively character of the civic milonga with an important game of sixteenth notes, on a popular motif that grows with a lot of color and polyphonic density until it fuses with the syncopated candombe. It develops with a dissonant variation of the theme, with the novena sound of the tonic chord and culminates with a strong perfect cadence characteristic of the milonga character.
chamber music orchestral
================== ==============================
• Five poems (1944) • Three picturesque dances (1947)
• Three pieces for violin (1949) • Three Fugas (1951)
• Small circus suite (1956) • Montevidean triptych (1956)
• Two pieces from Rio de Janeiro (1960) • Concerto for piano, strings and percussion (1959)
• Two popular motifs (1961) • Three popular songs (1963)
• Dance in the popular way (1962) • Autumn concert (1973)
• Piece for trio of reeds (1962) • Summer Concert (1975)
• Four humorous for piano and percussion (1972) • Winter Concertino (1976)
• Barbaric Rhapsody (1973) • Spring Concert (1980)
• Piece for quartet of metals, piano and percussion (1976)
• The Gray City (1976) • Sortilegio (1951) [ballet]
• Montevideanos (1976) • Ballet suite according to Figari (1952) [ballet]
• Small suite Montevideo (1977) • Suite rioplatense (1954) [ballet]
• Sonatina for guitar (1980) • The manager (1956) [ballet]
• Trio for clarinet, violin and violoncello (1981) • One such hat (1963) [ballet]
• Piece for cello and piano (1981) • Contraritmo (1965) [ballet]
• Tango theme for violoncello (1982)
• Homage to Alfredo de Simone (1982)
piano music
=========================================
• Aires de milonga (1943)
• Small suite of dances (1949)
• Theme and variations (1950)
• Two inventions (1950)
• Three Fugas (1950)
• Fantasy (1950)
• Rondó (1952)
• Sonata Nr. 1 (1952)
• Sonata Nr. 2 (1953)
• Rhythmic tango (1965)
• The seven notes of the scale (1976)
• Seven themes of tango (1979)
(https://images-na.ssl-images-amazon.com/images/I/51LpwYlROCL._SS500.jpg)
Concertino de Invierno para Guitarra, Cuerdas y Percusión
[asin]B00004VVVO[/asin] - Piece for Cello & Piano
(https://images-na.ssl-images-amazon.com/images/I/51qIwcVYSCL._SS500.jpg)
(https://images-na.ssl-images-amazon.com/images/I/71RNmj2hrwL._SX522_.jpg)