From 1912 to 1917 he was enrolled at the Saint Petersburg Conservatory, where he continued his violin studies with Sergei Korguyev and Leopold Auer.
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Later, he turned to Argentine nationalism, stimulated by gauchesco literature in the overture Don Segundo Sombra (1954) (after the novel by Ricardo Güiraldes), popular urban music in Tangos y milongas for piano (1948–59), rural folk music in Tres danzas populares, and historical themes in the Seventh Symphony, commemorating the Argentine Independence Revolution (Salgado 2001).