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Spanish naming customs denotes the personal appellation practiced in Spain and most Spanish-speaking countries, consisting of a given name (simple or composite) followed by two family names (surnames). The first surname was traditionally the father's first surname, and the second the mother's first surname. This order may now be reversed, under gender equality law.

In most situations, the practice is to use one given name and the first surname only, the full name being used in legal, formal, and documentary matters. For differences in Hispanic American usages, see Hispanic American naming customs.

Naming system in Spain[link]

Currently in Spain, people bear a single or composite given name (nombre) and two surnames (apellidos). A composite given name comprises two (not more) single names; Juan Pablo is considered not to be a first and a second forename, but a single composite forename. Traditionally, a person's first surname is the father's first surname (apellido paterno), and the second one is the mother's first surname (apellido materno). However, gender equality law has allowed surname transposition since 1999,^[1] subject to the condition that every sibling must bear the same surname order recorded in the Registro Civil (civil registry), but there have been legal exceptions. From 2013, if the parents of a child are unable to agree on order of surnames, an official decides which is to come first.^[2]

For example, if a man named Eduardo Fernández Garrido marries a woman named María Dolores Martínez Ruiz and has a child named Eduardo, there are several legal options, but their child would most usually be known as Eduardo Fernández Martínez.

Each surname can also be composite, the parts usually linked by the preposition de (of) or by a hyphen. For example, a person's name might be Juan Pablo Fernández de Calderón García-Iglesias, consisting of a forename (Juan Pablo), a paternal surname (Fernández de Calderón) and a maternal surname (García-Iglesias).

Forms of Address[link]

A man named José Antonio Gómez Iglesias would normally be addressed as Señor Gómez instead of Señor Iglesias, because Gómez is his paternal surname. Furthermore, Mr. Gómez might be informally addressed as (i) José Antonio, (ii) José, (iii) Pepe (nickname for José), (iv) Antonio (Anthony), or (v) Toño (nickname for Antonio).

Colombian writer Gabriel García Márquez is sometimes incorrectly referred to in English media as Mr. Márquez, when it should be Mr. García Márquez or, simply, Mr. García.

In rare instances, when the first surname is very common, someone may be referred to primarily by their maternal surname. For example, José Luis Rodríguez Zapatero (elected for terms as Prime Minister of Spain in the 2004 and 2008 general elections) is often called simply Zapatero, the name he inherited from his mother's family, since Rodríguez is a common surname and may be ambiguous. The same occurs with Spanish Socialist leader Alfredo Pérez Rubalcaba.

In an English-speaking environment, Spanish-named people sometimes hyphenate their surnames to avoid Anglophone confusion or to fill-out forms with only one space provided for last name, thus: Mr. José Antonio Gómez-Iglesias. A practical option to spare an explanation is using a single surname composed of two separate words.

Forenames[link]

Parents choose their child's given name, which must be recorded in the Registro Civil (Civil Registry) to establish his or her legal identity.^[3] With few restrictions, parents can now choose any name; common sources of names are the parents' taste, honouring a relative, the Roman Catholic calendar of saints nomina (nominal register), and traditional Spanish names. Legislation in Spain under Franco legally limited cultural naming customs to only Christian (Jesus, Mary, saints) and typical Spanish names (Antonio, Laura, et al.). Although the first part of a composite forename generally reflects the gender of the child, the second personal name need not (e.g.José María Aznar). At present, the only naming limitation is the dignity of the child, who cannot be given an insulting name. Similar limitations applied against diminutive, familiar, and colloquial variants not recognized as names proper, and "those that lead to confusion regarding sex";^[4] however, current law^[5] allows registration of diminutive names.^[6]

Spanish provincial surname concentrations: Percentage of population born with the ten most-common surnames. (Source: Instituto Nacional de Estadística 2006)

María and José[link]

Girls are often named María,^[7] honouring the Virgin Mary, by appending either a shrine, place, or religious-concept suffix-name to María. In daily life, such women omit the "Mary of the ..." nominal prefix, and use the suffix portion of their composite names as their public, rather than legal, identity. Hence, women with Marian names such as María de los Ángeles (Mary of the Angels), María del Pilar (Mary of the Pillar), and María de la Luz (Mary of the Light), are normally addressed as Ángeles (Angels), Pilar (Pillar), and Luz (Light); however, each might be addressed as María. Also, parents can simply name a girl "María", or "Mari". Nicknames such as Maricarmen for María del Carmen, Marisol for "María (de la) Soledad" ("Our Lady of Solitude", the Virgin Mary), etc. are often used.

It is not unusual for a man's formal name to include María, preceded by a masculine name, e.g. José María Aznar (Joseph Mary Aznar). Equivalently, a girl can be formally named María José (Mary Joseph), and informally named Marijose, Mariajo, Majo, Josefa, Josefina, Fina, Pepa, Pepi, Pepita, Marisé or even José in honor of St. Joseph. María as a masculine name is often abbreviated in writing as M. (José M. Aznar), Ma. (José Ma. Aznar), or Mª (José Mª Morelos). It is unusual for any other names than the religiously significant María and José to be used in this way, although in Mexico Guadalupe, a female name, is relatively often used for men.

Registered names[link]

The Registro Civil (Civil Registry) officially records a child’s identity as composed of a forename (simple or composite) and the two surnames; however, a child can be religiously baptized with several forenames, e.g. Felipe Juan Froilán de Todos los Santos. This is usually a royal and noble family practice, and has no legal significance.

Absence of maiden names[link]

In Spain, upon marrying, the woman does not change her surnames to adopt her husband’s because Spanish naming customs do not include the maiden name concept. Thus, when Leocadia Blanco Álvarez marries Pedro Pérez Montilla, she retains her original name Leocadia Blanco Álvarez. It is not infrequent that the first time a common Spaniard meets a foreign couple with the same surname (following English naming customs) he/she is puzzled thinking they are brother and sister, or that it is a big coincidence.^{[citation needed]}

In chapter V, part 2 of Don Quixote (1605, 1615), Teresa Panza reminds her husband Sancho that, properly, she should be addressed as Teresa Cascajo, by her surname, not her marital surname: “Teresa I was named in baptism, a clean and short name, without addings or embellishments, or furnishings of dons and dans; ‘Cascajo’ was my father; and I, as your wife, am called ‘Teresa Panza’, but laws are executed”.^[8]

Rarely, the husband's surname can be added after the woman's surnames using the particle "de".^{[citation needed]} Leocadia Blanco Álvarez, married to Pedro Pérez Montilla, can be addressed as Leocadia Blanco de Pérez or as Leocadia Blanco Álvarez de Pérez . This format is not used in everyday settings and has no legal value; it is used rarely and only in situations where the relationship to the husband is being stressed.

Surname distribution: the most common surnames, by residential Spanish province

Generational transmission[link]

In the generational transmission of surnames, the paternal surname’s precedence eventually eliminates the maternal surnames from the family lineage. Contemporary law allows the maternal surname to be given precedence, but most people^{[citation needed]} observe the traditional paternal–maternal surname order. So the daughter and son of Ángela López Sáenz and Tomás Portillo Blanco are usually called Laura Portillo López and Pedro Portillo López, but also could be called Laura López Portillo and Pedro López Portillo. Regardless of the surname order, all children's surnames must be in the same order when recorded in the Registro Civil.

Patrilineal surname transmission was not always the norm in Spanish speaking societies. Prior to the mid-eighteenth century,^{[citation needed]} when the current paternal-maternal surname combination norm came into existence, Hispanophone societies often practised matrilineal surname transmission, giving children the maternal surname, and, occasionally, giving children a grandparent's surname (borne by neither parent) for prestige — being perceived as gentry — and profit, flattering the matriarch or the patriarch in hope of inheriting land. As with Catalan names, the Spanish naming customs include the orthographic option of conjoining the surnames with the conjunction particle y (meaning "and"), e.g. José Ortega y Gasset, or Tomás Portillo y Blanco, following an antiquated aristocratic usage.

Not every surname is a single word; such conjoining usage is common with doubled surnames (maternal-paternal), ancestral composite surnames willed to the following generations — especially when the paternal surname is socially undistinguished. José María Álvarez del Manzano y López del Hierro is an example, his name comprising a composite (two-word) single name, José María, and two composite surnames Álvarez del Manzano and López del Hierro. Other examples derive from church place-names such as San José. When a person bears doubled surnames, the means of disambiguation is to insert y between the paternal and maternal surnames.

In case of illegitimacy — when the child's father either is unknown or refuses to legally recognise his son or daughter — the child bears both of the mother's surnames.^[9]

Occasionally, a person with a common paternal surname and an uncommon maternal surname becomes widely known by the maternal surname. The artist Pablo Ruiz Picasso, the poet Federico García Lorca, and the politician José Luis Rodríguez Zapatero are examples. With similar effect, the foreign paternal surname of the Uruguayan writer Eduardo Hughes Galeano (his father was British) is usually omitted. (As a boy, however, he occasionally signed his name as Eduardo Gius, using a hispanized approximation of the English pronunciation of "Hughes".) Such use of the second last name by itself is colloquial, however, and may not be applied in legal contexts.

Castilian and Álavan surnames[link]

Where the Basque and Romance cultures linguistically cohabit, the surnames denote the father's name and the (family) house; thus the Romance patronymic and the place-name are conjoined with the prepositional particle de ("from", "provenance"), thus in the name José Ignacio López de Arriortúa, the composite surname López de Arriortúa is a simple surname, despite Arriortúa being the original family-name. This is a possibly confusing usage because the Spanish López and the Basque de Arriortúa are discrete surnames in the Basque and Romance cultures.^{[citation needed]}

Nominal conjunctions[link]

The particle “de” (of)[link]

In Spanish, the preposition particle de (“of”) is used as a conjunction in two surname spelling styles, and to disambiguate a surname. The first style is in patronymic and toponymic spelling formulæ,^[10] e.g. Gonzalo Fernández de Córdoba, Pedro López de Ayala, and Vasco Núñez de Balboa, as in many conquistador names.^[11]

Unlike in French, the Spanish spellings of surnames containing the prepositional particle de are ambiguous without a preceding patronymic, an orthographic style common to noble surnames, thus, the lower-case spellings de la Rúa (“of the street") and de la Torre (“of the tower”) and the upper-case spellings De la Rúa and De la Torre are equally correct.

Without a patronymic

Juan Carlos de Borbón. Unlike in French, Spanish orthography does not require a contraction when a vowel begins the surname, but de el (“of the”) becomes del, e.g. Carlos Arturo del Monte (Charles Arthur of the Mountain).

The patronymic exception

The current (1958) Spanish name law, Artículo 195 del Reglamento del Registro Civil (Article 195 of the Civil Registry Regulations) disallows a person’s prefixing the de particle to his or her surname — the exception is the clarifying addition of de to a surname (apellido) that might be misunderstood as a name (nombre);^[12] thus, a child would be registered as Pedro de Miguel Jiménez, to avoid the surname Miguel being mistaken as the second part of a composite name, as Pedro Miguel.

Bearing the de particle does not necessarily denote a noble family, especially in Castile and Alava, the de usually applied to the place-name (town or village) from which the person and his or her ancestors originated; however, in the sixteenth and seventeenth centuries, the usage of de spread as a way of denoting the bearer’s noble heritage to avoid the misperception that he or she is either a Jew or a Moor. In that time, many people, regardless of their true origins, claimed the right to use the particle, e.g. Miguel de Cervantes, Lope de Vega, et al.; moreover, following that fashion, high nobles, such as Francisco Sandoval Rojas, called himself Francisco de Sandoval y Rojas. During the eighteenth century, the Spanish nobility fully embraced the French custom of using de as a nobility identifier, however, commoners also bore the de particle, which made the de usages unclear; thus, nobility was emphasised with the surname’s lineage.

The particle “y” (and)[link]

In the sixteenth century,^{[citation needed]} the Spanish adopted the copulative conjunction y (“and”) to distinguish a person’s surnames; thus the Andalusian Baroque writer Luis de Góngora y Argote (1561–1627), the Aragonese painter Francisco José de Goya y Lucientes (1746–1828), the Andalusian artist Pablo Diego Ruiz y Picasso (1881–1973), and the Madrilenian liberal philosopher José Ortega y Gasset (1883–1955). In Hispanic America, this spelling convention was common to clergymen (e.g. Salvadoran Bishop Óscar Arnulfo Romero y Galdámez), and sanctioned by the Ley de Registro Civil (Civil Registry Law) of 1870, requiring birth certificates indicating the paternal and maternal surnames conjoined with y — thus, Felipe González y Márquez and José María Aznar y López are the respective true names of the Spanish politicians Felipe González Márquez and José María Aznar López; however, unlike in Catalan, the Spanish usage is infrequent.

The conjunction y avoids denominational confusion when the paternal surname might appear to be a (first) name; hence the physiologist Santiago Ramón y Cajal might appear to be named Santiago Ramón (composite) and surnamed Cajal, like-wise the jurist Francisco Tomás y Valiente, and the cleric Vicente Enrique y Tarancón. Without the conjunction, the footballer Rafael Martín Vázquez, known as Martín Vázquez (his surnames) mistakenly appears to be named Martín rather than Rafael, whilst, to his annoyance, the linguist Fernando Lázaro Carreter occasionally was addressed as Don Lázaro, rather than as Don Fernando.

Moreover, when the maternal surname begins with an i vowel sound, written with either the vowel I (Ibarra), the vowel Y (Ybarra archaic spelling) or the combination Hi + consonant (Higueras), Spanish euphony substitutes e in place of y, thus the example of the Spanish statesman Eduardo Dato e Iradier (1856–1921).

Denotations[link]

To communicate a person’s social identity, Spanish naming customs provide orthographic means, such as suffix-letter abbreviations, surname spellings, and place names, which denote and connote the person’s place in society.

Identity and descent[link]

h. (son of): A man named like his father, might append the lower-case suffix h. (denoting hijo, son) to his surname, thus distinguishing himself, Juan Gómez Marcos, h., from his father, Juan Gómez Marcos; the English analogue is “Jr.” (son).

–ez: Spanish surnames ending in -ez originated as patronymics denoting "the son of"—Fernández (son of Fernando), González (son of Gonzalo)—yet not every such surname is patronymic, because in many Spanish dialects the Spanish-language letters z and s are pronounced alike, leading to the same word being spelt with either "s" or "z". In Hispano-American Spanish, the -ez spellings of Chávez, Cortez (Alberto Cortez) and Valdez are not patronymic surnames, because they are variant spellings of the Iberian Spanish spelling with -es, as in the names of Manuel Chaves González, Hernán Cortés and Javier Valdés. For more on the -z surnames in Spanish see Influences on the Spanish language.

Foundlings[link]

Anonymous foundlings were a naming problem for civil registrars, but such anonymous children were often named toponymically, after the town where they were found. Because most foundlings were reared in church orphanages, they were often given the surnames Iglesia or Iglesias (church[es]) and Cruz (cross). Blanco (connoting "blank" here, rather than the more usual "white") was another option. A toponymical first surname might be followed as second surname by Iglesia or Cruz.

Foundlings often were surnamed Expósito (Lat. exposĭtus, "exposed", connoting "foundling"), which marked them, and their descendants, as of low caste and social class, people without social pedigree.^{[citation needed]} In the Catalan language the surname Deulofeu ("made by God") was often given to foundlings. In 1921 Spanish law allowed the surname Expósito to be changed without charge.^[13]

Foreign citizens[link]

In Spain, legal and illegal foreign immigrants retain use of their cultural naming customs^[14], yet upon becoming Spanish citizens, they are legally obliged to assume Spanish-style names (a name and two surnames).^{[citation needed]} If the naturalised person is from a one-surname culture, the actual surname is duplicated;^{[citation needed]} therefore, the English name “George Albert Duran” becomes the Spanish name “George Albert Durán Durán”, yet the law optionally allows him to adopt his mother's maiden name (her surname), as his maternal (second) surname. Formally, Spanish naming customs conflate his name “George” and his middle-name “Albert” to the composite name “George Albert”, and his sole surname, “Duran”, is duplicated as his paternal and maternal surnames.

Flamenco artists[link]

Historically, flamenco artists seldom used their proper names. According to the guitarist Juan Serrano, this was because Flamenco was considered disreputable and they did not want to embarrass their families: 'We have to start with the history of the gypsies in Spain. They gained a bad reputation because of the minor crimes they had to commit to survive. They did not have any kind of jobs, they had to do something to live, and of course this created hostility. And Flamenco was the music of the Gypsies, so many high society people did not accept it — they said Flamenco was in the hands of criminals, bandits, et cetera. And the girls, that maybe liked dancing or singing, their parents said “Oh no, you want to be a prostitute!”.'^[15]

This tradition has persisted to the present day, even though Flamenco is now legitimate. Sometimes the artistic name consists of the home town appended to the first name (Manolo Sanlúcar, Ramón de Algeciras); but many, perhaps most, of such names are more eccentric: Pepe de la Matrona (because his mother was a midwife); Perico del Lunar (because he had a mole); Tomatito (son of a father known as Tomate because of his red face); Sabicas (because of his childhood passion for green beans, from niño del las habicas); and many more.

Spanish hypocoristics and nicknames[link]

Many Spanish names can be shortened into hypocoristic, affectionate "child-talk" forms using a diminutive suffix, especially -ito and -cito (masculine) and -ita and -cita (feminine). Sometimes longer than the person’s name, a nickname usually derives via linguistic rules.^[16] The usages vary by country and region; these are some usual names and their nicknames:

Spain's other languages[link]

The official recognition of Spain's other written languages — Catalan, Basque, and Galician — legally allowed the autonomous communities to re-establish their vernacular social identity, including the legal use of personal names in the local languages and written traditions — banned since 1938^[17] — sometimes via the re-spelling of names from Castilian Spanish to their original languages.

Basque names[link]

This unreferenced section requires citations to ensure verifiability.

The territories under the influence of Basque culture, mainly the Basque Country and Navarre, usually follow Spanish naming customs. A bilingual Basque-Spanish speaker will not necessarily bear a Basque name, and a monolingual Spanish speaker can use a Basque name or a Basque hypocoristic of an official Spanish name.

Some Basque-language names and surnames are foreign transliterations into the Basque tongue, e.g. Ander (English: "Andrew"; Spanish: Andrés), Mikel (English: "Michael"; Spanish: Miguel), or Ane (English: "Anne"; Spanish: Ana). In some cases, the name's original-language denotation is translated to Basque, i.e. Zutoia and Zedarri denote the Spanish Pilar (English: "Pillar"). Moreover, some Basque names, such as Xabier and Eneko (English "Xavier" and "Inigo") have been transliterated into Spanish (Javier and Íñigo).

Recently, Basque names without a direct equivalent in other languages have become popular, e.g. Aitor (a legendary patriarch), Odei ("cloud"), Iker ("to investigate"), and Amaia ("the end"); finally, other Basque names, without a current direct Spanish meaning, are unique to the Basque language: Eneko, Garikoitz, Urtzi. Basque names, rather than Spanish names, are preponderant^{[citation needed]} in the Basque Country, countering the Spanish-name imposition of the Franco régime requiring only Spanish names; after Franco's death and the democratic restoration, many Basque adults changed their Spanish names to the Basque equivalent, e.g. from Miguel to Mikel.

A source for modern Basque names is Sabino Arana's Deun-Ixendegi Euzkotarra ("Basque saint-name collection", published in 1910). Instead of the traditional adaptations of Romance names, he proposed others he made up and that in his opinion were truer to the originals and adapted to the Basque phonology. For example, his brother Luis became Koldobika, from Frankish Hlodwig. The traditional Peru (from Spanish "Pedro"), Pello or Piarres (from French "Pierre"), all meaning "Peter", became Kepa from Aramaic כיפא (Kepha). He believed that the suffix -[n]e was inherently feminine, and new names like Nekane ("pain"+ne,"Dolores") or Garbine ("clean"+ne, "Immaculate [Conception]") are frequent among Basque females.

Basque surnames usually denoted the patronymic house of the bearer; e.g. Etxebarria —"new house", from etxe (house) + barri (new), denotes "related to a so-named farmhouse"; in the same way, Garaikoetxea — "house in the heights", garai ("height") + etxe ("house"). Sometimes, surnames denoted not the house itself but a characteristic of the place, e.g. Saratxaga — "willow-place", from saratze ("willow") + -aga ("place of"); Loyola, from loi ("mud") + ola ("iron smithery"); Arriortua —"stone orchard", from harri ("stone") + ortua ("orchard"). Before the 20th century all Basquemen were considered nobles (indeed, some Basque surnames, e.g. Irujo, were related to some of the oldest Spanish noble families), and many of them used their status to emigrate with privileges to other regions of the Spanish Empire, especially the Americas, due to which some Basque surnames became common to the Spanish-American world; e.g. Mendoza — "cold mountain", from mendi ("mountain" + hotza ("cold"); Salazar — "Old hall", from sala ("hall") + zahar ("old"). Until 1978, Spanish was the single official language of the Spanish civil registries and Basque surnames had to be registered according to the Spanish phonetical rules (for example, the Spanish "ch" sound merges the Basque "ts", "tx", and "tz", and someone whose surname in Standard Basque would be "Krutxaga" would have to write it as "Cruchaga", letter "k" also not being used in Spanish). Although the democratic restoration ended this policy, allowing surnames to be officially changed into their Basque version, there still are many people who hold Spanish-written Basque surnames, even in the same family: a father born before 1978 would be surnamed "Echepare" and his children, "Etxepare". This policy even changed the usual pronunciation of some Basque surnames. For instance, in Basque, the letter "z" maintained a sibilant "s"-like sound, while Spanish changed it; thus, a surname such as "Zabala" should be properly read similar to "sabala" (Basque pronunciation: [s̻abala]), although in Spanish, because the "z" denotes a "th" sound ([θ]), it would be read as "Tha-bala" (Spanish pronunciation: [θaˈβala]). However, since the letter "z" exists in Spanish, the registries did not force the Zabalas to transliterate their surname.

In Biscay and Guipuzcoa, it was not common^{[citation needed]} to take a surname from the place (town or village) where one resided, unless one was a foundling. Basque compound surnames were created with two discrete surnames, e.g. Elorduizapaterietxe — Elordui + Zapaterietxe, Mariñelarena — Mariño + la arena; a practice denoting family allegiances or the equal importance of both families. This custom sometimes conduced to incredibly long surnames, for compound surnames could be used to create others; for example, the longest surname recorded in Spain is Basque, Burionagonatotoricagageazcoechea", formed by Buriona+ Gonatar + Totorika + Beazcoetxea.

Finally, the nationalist leader Sabino Arana pioneered a naming custom of transposing the name-surname order to what he thought was the proper Basque language syntax order; e.g. the woman named Miren Zabala would be referred to as Zabalatar Miren— the surname first, plus the -tar suffix denoting "from a place", and then the name. Thus, Zabalatar Miren means "Miren, of the Zabala family". The change in the order is effected because in the Basque tongue, declined words (such as Zabalatar) that apply to a noun are uttered before the noun itself; another example of this would be his pen name, Arana ta Goiritar Sabin. This Basque naming custom was used in nationalist literature, not in formal, official documents wherein the Castilian naming convention is observed.

Catalan names[link]

The Catalan-speaking territories also abide by the Spanish naming customs, yet usually the discrete surnames are joined with the word i (“and"), instead of the Spanish y, and this practice is very common in formal contexts. For example, the current president of the Generalitat de Catalunya (Government of Catalonia) is formally called El Molt Honorable Senyor Artur Mas i Gavarró. Furthermore, the national language policy enumerated in article 19.1 of Law 1/1998 stipulates that "the citizens of Catalonia have the right to use the proper regulation of their Catalan names and surnames and to introduce the conjunction between surnames".

The correction, translation, and surname-change are regulated by the Registro Civil (Civil Registry) with the Decree 138/2007 of 26 June, modifying the Decree 208/1998 of 30 July, which regulates the accreditation of the linguistic correctness of names. The attributes and functions of Decree 138/2007 of 26 July regulate the issuance of language-correction certificates for translated Catalan names, by the Institut d'Estudis Catalans (Institute of Catalan Studies) in Barcelona. Nevertheless, there are Catalan surnames that conform to neither the current spelling rules nor to the traditionally correct Catalan spelling rules; a language-correction certification can be requested from the Institut d'Estudis Catalans, for names such as these:^[18]

• Casas to Cases
• Farré to Ferrer
• Gabarra to Gavarró
• Jufré to Jofré
• Mayoral to Majoral
• Perpiñá to Perpinyà
• Pijuan to Pijoan
• Piñol to Pinyol
• Roselló to Rosselló
• Verdugo to Berdugo

Catalan hypocoristics and nicknames[link]

Many Catalan names are shortened to hypocoristic forms using only the final portion of the name (unlike Spanish, which mostly uses only the first portion of the name), and with a diminutive suffix. Thus, shortened Catalan names taking the first portion of the name are probably influenced by the Spanish tradition. The influence of Spanish in hypocoristics is recent since it became a general fashion only in twentieth century and specially since Francisco Franco's dictatorship; example Catalan names are:

Galician names[link]

The Galician-speaking areas also abide the Spanish naming customs. Main differences are the usage of Galician given names and surnames.

Galician Surnames[link]

Most Galician surnames have their origin in local toponymys, being these either Galician regions (Sanlés < Salnés, Carnota, Bergantiños), towns (Ferrol, Noia), parishes or villages (as Andrade). Just like elsewhere, many surnames were also generated from jobs or professions (Carpinteiro 'carpenter', Cabaleiro 'Knight', Ferreiro 'Smith', Besteiro 'Crossbowman'), physical characteristics (Gago 'Twangy', Tato 'Stutterer', Couceiro 'Tall and thin', Bugallo 'fat', Pardo 'Swarthy'), or origin of the person (Franco and Francés 'French', Portugués 'Portuguese').

Although many Galician surnames have been historically adapted into Spanish phonetics and orthography, they are still clearly recognizable as Galician words: Freijedo, Spanish adaptation of freixedo 'place with ash-trees'; Seijo from seixo 'stone'; Doval from do Val 'of the Valley'; Rejenjo from Reguengo, Galician evolution of local Latin-Germanic word Regalingo 'Royal property'.

Specially relevant are the Galician surnames originated from medieval patronymics, present in local documentation since the 9th century, and popularized from the 12th century on. Although many of them have been historically adapted into Spanish orthography,^[19] phonetics and traditions, many are still characteristically Galician; most common ones are:

• Alonso (medieval form Afonso, from the Germanic name Adefonsus): Spanish 'Alfonso', 'Alonso'.
• Álvarez (from médieval Alvares, from the Germanic name Alvarus).
• Ares (from the name Arias'): Spanish 'Arias'.
• Bermúdez (medieval form Vermues, from the Germanic name Veremodus + suffix -ici-).
• Bernárdez (from the Frankish name Bernard + suffix -ici-).
• Vieitez, Vieites (from the name Bieito, from Latin Benedictus + suffix -ici-): Spanish 'Benítez'.
• Diz, Díaz (from the name Didacus + suffix -ici-): Spanish 'Díaz'.
• Domínguez (medieval form Domingues, derived of the name Domingo, from Dominicus, + suffix -ici-).
• Enríquez (medieval form Anrriques, from the Frankish name Henric + suffiz -ici-).
• Estévez (medieval form Esteves, from the name Estevo, derived of Stephanus + suffix -ici-): Spanish 'Estébanez'.
• Fernández (medieval form Fernandes, from the name Fernando, derived from the Germanic name Fredenandus + suffix -ici-): Spanish 'Hernández'.
• Froiz (medieval form Froaz, from the Germanic name Froila 'Lord' + suffix -ici-): Spanish 'Flores'.
• García (medieval form Garçia, from the name Garcia).
• Giance (from the name Xian, old orthography Jiam, derived of Latin Iulianus + suffix -ici-), with no Spanish equivalent.
• Gómez (medieval form Gomes, from the name Gomes).
• González (medieval form Gonçalves, from the Germanic name Gundisalvus + suffix -ici-).
• López (medieval form Lopes, from the Latin nickname Lupus 'wolf').
• Lourenzo, Lorenzo (medieval form Lourenço, from tha Latin name Laurentius).
• Martínez, Martín, Martís (from the Latin name Martinus + suffix -ici-): Spanish 'Martínez'.
• Méndez (medieval form Meendes, from the name Mendo, from Menendus + suffix -ici-): Spanish 'Menéndez', 'Méndez'.
• Miguéns (from the name Miguel, derived of Michael + suffix -ici-): Spanish 'Miguélez'.
• Núñez (medieval form Nunes, derived from the name Nunnus + suffix -ici-).
• Paz, Paes, Pais (from the name Paio, derived from Pelagius + suffix -ici-): Spanish 'Peláez'.
• Pérez (medieval form Peres, from the name Pero, derived of Petrus, + suffix -ici-).
• Raimúndez (from the Frankish name Raimund + suffix -ici-).
• Rodríguez (from the name Rodrigo, from the Gemanic form Rodericus + suffix -ici-).
• Rois (from the name Roi, nickname of Rodrigo + suffix -ici-): Spanish 'Ruíz'.
• Sánchez (medieval form Sanches, from the name Sancho, derived from Latin Sanctius + suffix -ici-).
• Sueiro, Suárez (medieval forms Sueiro, Suares, from the name Suarius, with and without suffix -ici-): Spanish 'Suárez'.
• Vázquez (medieval form Vasques, from the name Vasco, from Velasco, + suffix -ici-): Spanish 'Velázquez'.
• Yanes (medieval forms Eanes, Ianes. from Iohannes, Yohannes + suffix -ici-): Spanish Eáñes 'Yañez'.

Galician Given names and nicknames[link]

Some common Galician names are:^[20]

Ceuta and Melilla[link]

As the provincial Surname distribution map (above) indicates, Mohamed is an often-occurring surname in the autonomous Mediterranean North African cities of Ceuta and Melilla (respectively registered 10,410 and 7,982 occurrences),^[21] due to immigration from Morocco.^{[citation needed]} Hispanophone Muslims use the Spanish "Mohamed" spelling for “Muhammad”. As such, it is often a component of Arabic names for men; hence, many Ceutan and Melillan Muslims share surnames despite not sharing a common ancestry. Furthermore, Mohamed (Muhammad) is the most popular name for new-born boys,^[22] thus it is not unusual to encounter a man named Mohamed Mohamed Mohamed: the first occurrence is the name, the second occurrence is the paternal surname, and the third occurrence is the maternal surname.^[23]

See also[link]

Spain portal

• Nobility particle
• List of personal naming conventions (for other languages)
• Name for general coverage of the topic
• Portuguese names
• French names
• Gitano surnames
• Basque surnames
• Hispanic American naming customs
• Philippine names
• Spanish-Moors surname

Notes and references[link]

External links[link]

• (Spanish)Hispanic Heraldry – Information about Hispanic surnames.
• (Spanish)Nombres de Niñas – List of names in Spanish, with list of most popular names.
• (Catalan)Catalan Society of Heraldry – Information about Catalan surnames.
• Territorial distribution of surnames (Data from the Register on 1 January 2006) and several Excel tables about name and surname distribution by age and province, from the Instituto Nacional de Estadística (Spain).

Isaac Albéniz at the piano, 1901

Isaac Manuel Francisco Albéniz y Pascual (Spanish pronunciation: [iˈsak alˈβeniθ]) (29 May 1860, Camprodon – 18 May 1909, Cambo-les-Bains) was a Spanish pianist and composer best known for his piano works based on folk music idioms. However, many of his works have been transcribed by Miguel Llobet and others for guitar, and many of his pieces such as Asturias (Leyenda), Granada, Sevilla, Cadiz, Cordoba, Cataluña, and the Tango in D are amongst the most important pieces for classical guitar.

Life[link]

Albéniz with his daughter, Laura

Born in Camprodon, province of Girona, to Ángel Albéniz (a customs official) and his wife Dolors Pascual, Albéniz was a child prodigy who first performed at the age of four. At age seven, after apparently taking lessons from Antoine François Marmontel, he passed the entrance examination for piano at the Paris Conservatoire, but he was refused admission because he was believed to be too young.^[1]

His concert career began at the young age of nine when his father toured both Isaac and his sister, Clementina, throughout northern Spain. By the time he had reached 12, he had made many attempts to run away from home. A popular myth is that at the age of 12 Albéniz stowed away in a ship bound for Buenos Aires. He then made his way via Cuba to the United States, giving concerts in New York and San Francisco and then travelled to Liverpool, London and Leipzig.^[2] By age 15, he had already given concerts worldwide. This over-dramatized story is not entirely true. Albéniz did travel the world as a performer, however he was accompanied by his father. As a customs agent he was required to travel frequently. After a juxtaposition of Isaac's concert dates, on his alleged adventure, and his father's travel itinerary it is apparent that they were traveling together. After a short stay at the Leipzig Conservatory, in 1876 he went to study at the Royal Conservatory in Brussels after King Alonso's personal secretary, Guillermo Morphy obtained him a royal grant.^[3] Count Morphy was highly praising of Albéniz, and Albéniz would later dedicate Sevilla to Morphy's wife when he premiered it in Paris in January 1886.^[3] In 1880, he went to Budapest to study with Franz Liszt, only to find out that Liszt was in Weimar, Germany.

In 1883, he met the teacher and composer Felip Pedrell, who inspired him to write Spanish music such as the Chants d'Espagne. The first movement (Prelude) of that suite, later retitled after the composer's death as Asturias (Leyenda), is probably most famous today as part of the classical guitar repertoire, even though it was originally composed for piano and only later transcribed. (Many of Albéniz's other compositions were also transcribed for guitar, notably by Francisco Tárrega). At the 1888 Universal Exposition in Barcelona, the piano manufacturer Erard sponsored a series of 20 concerts featuring Albéniz's music.^[1]

The apex of his concert career is considered to be 1889 to 1892 when he had concert tours throughout Europe. During the 1890s Albéniz lived in London and Paris. For London he wrote some musical comedies which brought him to the attention of the wealthy Francis Money-Coutts, 5th Baron Latymer. Money-Coutts commissioned and provided him with librettos for the opera Henry Clifford and for a projected trilogy of Arthurian operas. The first of these, Merlin (1898–1902) was thought to have been lost, but has recently been reconstructed and performed;.^[4] Albéniz never completed Lancelot (only the first act is finished, as a vocal and piano score), and he never began Guinevere, the final part.^[5]

In 1900 he started to suffer from Bright's disease and returned to writing piano music. Between 1905 and 1908 he composed his final masterpiece, Iberia (1908), a suite of twelve piano "impressions".

In 1883, the composer married his student Rosina Jordana. They had three children, Blanca (who died in 1886), Laura (a painter), and Alfonso (who played for Real Madrid in the early 1900s before embarking on a career as a diplomat). Two other children died in infancy.

Albéniz died on 18 May 1909 at age 48 in Cambo-les-Bains of Bright's disease, and is buried at the Montjuïc Cemetery, Barcelona.

Alberto Ruiz-Gallardón, former mayor of Madrid, and Cécilia Attias, the former wife of former French president Nicolas Sarkozy, are two of Isaac Albéniz's great-grandchildren.

Work[link]

Early works[link]

Albéniz's early works were mostly “salon style” music. Albéniz's first published composition, Marcha Militar, appeared in 1868 -a number of works written before this are now lost.^[6] He continued composing in traditional styles ranging from Rameau, Bach, Beethoven, Chopin and Liszt until the mid-1880s. He also wrote at least five zarzuelas, of which all but two are now lost.

Middle period – Spanish influences[link]

During the late 1880s, the strong influence of Spanish style is evident in Albéniz's music. In 1883 Isaac Albéniz met the teacher and composer Felipe Pedrell. Pedrell was a leading figure in the development of nationalist Spanish music. Gilbert Chase, in his book The Music of Spain, describes Pedrell’s influence on Albéniz: “What Albéniz derived from Pedrell was above all a spiritual orientation, the realization of the wonderful values inherent in Spanish music"^{[page needed]}. Felipe Pedrell inspired Isaac Albéniz to write Spanish music such as the Suite española, Op. 47 noted for its delicate, intricate melody and abrupt dynamic changes.

In addition to the Spanish spirit infused in Albéniz’s music, he incorporated other qualities as well. In Pola Baytleman’s biography on Albéniz, she discerns four characteristics of the music from the middle period as follows:

“1. The dance rhythms of Spain, of which there are a wide variety. 2. The use of cante jondo, which means deep or profound singing. It is the most serious and moving variety of flamenco or Spanish gypsy song, often dealing with themes of death, anguish, or religion. 3. The use of exotic scales also associated with flamenco music. The Phrygian mode is the most prominent in Albéniz’s music, although he also used the Aeolian and Mixolydian modes as well as the whole-tone scale. 4. The transfer of guitar idioms into piano writing".^{[page needed]}

Following his marriage Albéniz settled in Madrid and produced a quantity of music in a relatively short period.By 1886 he had written over 50 piano pieces.^[7] The Albéniz biographer, Walter A. Clark, says that pieces of this period received enthusiastic reception in the composer's many concerts. Chase describes music from this period,

“Taking the guitar as his instrumental model, and drawing his inspiration largely from the peculiar traits of Andalusian folk music – but without using actual folk themes – Albéniz achieves a stylization of Spanish traditional idioms that while thoroughly artistic, gives a captivating impression of spontaneous improvisation... Cordoba is the piece that best represents the style of Albéniz in this period, with its hauntingly beautiful melody, set against the acrid dissonances of the plucked accompaniment imitating the notes of the Moorish guslas. Here is the heady scent of jasmines amid the swaying palm tress, the dream fantasy of an Andalusian “Arabian Nights” in which Albéniz loved to let his imagination dwell.^{[page needed]}”

Later period[link]

While Albéniz's crowning achievement, Iberia, was written in the last years of his life in France, many of its preceding works are well-known and of great interest. The five pieces in Chants d'Espagne, (Songs of Spain, published in 1892) are a solid example of the compositional ideas he was exploring in the “middle period” of his life. The suite shows what Albéniz biographer Walter Aaron Clark describes as the “first flowering of his unique creative genius”^{[page needed]}, and the beginnings of compositional exploration that became the hallmark of his later works. This period also includes his operatic works – Merlin, Henry Clifford, and Pepita Jiménez. His orchestral works of this period include Spanish Rhapsody (1887) and Catalonia (1899).

Albéniz on his own music[link]

Perhaps the best source on the works is Albéniz himself. He is quoted as commenting on his earlier period works as,

“there are among them a few things that are not completely worthless. The music is a bit infantile, plain, spirited; but in the end, the people, our Spanish people, are something of all that. I believe that the people are right when they continue to be moved by Cordoba, Mallorca, by the copla of the Sevillanas, by the Serenata, and Granada. In all of them I now note that there is less musical science, less of the grand idea, but more color, sunlight, flavor of olives. That music of youth, with its little sins and absurdities that almost point out the sentimental affectation…appears to me like the carvings in the Alhambra, those peculiar arabesques that say nothing with their turns and shapes, but which are like the air, like the sun, like the blackbirds or like the nightingales of its gardens. They are more valuable than all else of Moorish Spain, which though we may not like it, is the true Spain.”^{[citation needed]}

Impact[link]

Albéniz’s influence on the future of Spanish music was profound. His activities as conductor, performer and composer significantly raised the profile of Spanish music abroad and encouraged Spanish music and musicians in his own country.^[1]

In transcription, Albéniz's works have become an important part of the repertoire of the classical guitar. Asturias (Leyenda) in particular is heard most often on the guitar, as are Granada, Sevilla, Cadiz, Cataluña, Cordoba and the Tango in D. Gordon Crosskey and Cuban-born guitarist Manuel Barrueco have both made solo guitar arrangements of the full eight-movement Suite espanola. Selections from Iberia have rarely been attempted on solo guitar but have been very effectively performed by guitar ensembles, such as the performance by John Williams and Julian Bream of Iberia's opening "Evocation." The Doors incorporated "Asturias" into their song "Spanish Caravan"; also, Iron Maiden's To Tame a Land uses the introduction of the piece for the song bridge; and more recently, a guitar version of Granada functions as something of a love theme in Woody Allen's 2008 film Vicky Cristina Barcelona

In 1997 the Fundación Isaac Albéniz was founded in his name to promote Spanish music and musicians and to act as a research centre for Albéniz and Spanish music in general.^[1]

In film[link]

A film, Albéniz, based on his life, was made in 1947. It was produced in Argentina.

List of selected works[link]

Opera

• The magic opal
• Henry Clifford
• Pepita Jiménez
• Merlin
• Lancelot (unfinished: 1st act complete)

Zarzuela

• Cuanto más viejo. Lost music.
• Catalanes de Gracia. Lost music.
• El canto de salvación. Lost music.
• San Antonio de la Florida.
• La real hembra.

Works for piano

• Tres suites antiguas (Three ancient suites) (1885–1886).
• Chants d'Espagne, Op.232
• Suite española, op. 47 (Spanish suite). With 8 pieces: Granada, Cataluña, Sevilla, Cádiz, Asturias, Aragón, Castilla and Cuba.
• Suite española, op. 97. 4 pieces: Zaragoza, Sevilla, Cadix-gaditana, and Zambra granadina (1883–1888) (1889).
• España, Op.165. 6 pieces: Preludio, Tango, Malagueña, Serenata, Capricho Catalán and Zortzico.
• Doce piezas características (Twelve characteristic pieces) (1888).
• Recuerdos de viaje (Travel memories), Op.71. 7 pieces: En el mar, Leyenda, Alborada, En la Alhambra, Puerta de Tierra, Rumores de la caleta, En la playa (1886–1887).
• Iberia. Suite for piano with 12 pieces in 4 books ("quaderns"):
  • 1º quadern: Evocación, El Puerto, El Corpus Christi en Sevilla.
  • 2º quadern: Rondeña, Almería, Triana.
  • 3º quadern: El Albaicín, El Polo, Lavapiés.
  • 4º quadern: Málaga, Jérez, Eritaña.
• La Vega.
• Navarra, finished by his pupil Déodat de Séverac.
• Azulejos, unfinished: finished by Enrique Granados
• Rapsodia española (Spanish rhapsody) (1887)

Other works

• Cristo, oratorio.
• 2 concertos for piano and orchestra: Concerto Fantastico, 1st, 1885–1887; 2nd concerto (1892), unfinished.
• Rapsodia española (Spanish rhapsody), for piano and orchestra (1887).
• Catalonia, symphonic poem (1899).

Symphonic versions of Iberia have been arranged by Enrique Fernández Arbós, Carlos Surinach, and Peter Breiner. There is a piano and orchestra version of Rapsodia española by Cristóbal Halffter.

Media[link]

	Suite española Op. 47 – 1. Granada (Serenata) Performed on a piano by Guillermo Gonzalez Courtesy of NAXOS Suite Española, Op. 47 – 5. Asturias (Leyenda) Performed on a guitar by Gordon Rowland.
Problems listening to these files? See media help.

Bibliography[link]

• Isaac Albéniz, Chants d”Espagne, G. Henle Verlag, Berlin, 2004.
• Pola Baytelman, Isaac Albéniz: Chronological List and Thematic Catalog of His Piano Works, Harmonie Park Press, Michigan 1993.
• Frances Barulich. Albéniz, Isaac. In Grove Music Online. Oxford Music Online, http://0-www.oxfordmusiconline.com.catalogue.ulrls.lon.ac.uk/subscriber/article/grove/music/00421 (accessed 7 March 2010).
• Gilbert Chase, The Music of Spain, Dover Publications Inc. New York, 1959.
• Walter Aaron Clark, Isaac Albéniz: A Guide to Research, Garland Publishing Inc. New York & London, 1998.
• Walter Aaron Clark, Isaac Albéniz: Portrait of a Romantic, Oxford University Press, New York 1999.
• Daniel Ericourt and Robert. P. Erickson, MasterClasses in Spanish Piano Music, Hinshaw Music, Chapel Hill North Carolina, 1984.
• G. Jean-Aubry, “Isaac Albéniz 1860–1909,” The Musical Times, Vol 58 No. 898, Musical Times Publications Ltd., December 1917 pgs 535–538.
• Torres, Jacinto: "Las claves Madrileñas de Isaac Albéniz", Imprenta Artesanal de Madrid, 2009
• Torres, Jacinto: "Integral para voz y piano", TRITÓ Edicions, 1998

Notes[link]

External links[link]

• Mallorca interactive hypermedia (Shockwave Player required) at the BinAural Collaborative Hypertext
• The Life and Music of Isaac Albéniz
• Biography and List of Works by Albéniz
• Isaac Albéniz i Pascual
• Albéniz Foundation
• Albéniz Asturias arranged for Accordion

Articles[link]

• En torno a Isaac Albéniz y su "Iberia" by Antonio Iglesias, Antonio Fernández-Cid (ref)

Sheet music[link]

• Facsimiles (La Biblioteca Virtual Miguel de Cervantes)
• Free scores by Isaac Albéniz at the International Music Score Library Project
• Free scores by Isaac Albéniz at the Werner Icking Music Archive
• Tango, arranged by Mischa Elman for violin and piano (from the Sibley Music Library Digital Scores Collection)

Photos of Albéniz[link]

• Photos (Gallica)

Recordings by Isaac Albéniz[link]

• Improvisación nº 1, Improvisación nº 2, Improvisación nº 3 (ref – La Biblioteca Virtual Miguel de Cervantes)
• L'escola pianística catalana (Enregistraments històrics) (la mà de guido , LMG3060)
• The Catalan Piano Tradition (VAI Audio, 1001) OCLC 36488795 and 4914327
• Rollos de Pianola (Obras de Albéniz, Granados, Turina, Ocón, Chapí, Alonso y Otros) (Almaviva, DS – 0141) ASIN B000GI34D6

Francisco Cordero
Cordero pitching for the Reds in 2009.
Toronto Blue Jays – No. 48
Pitcher
Born: (1975-05-11) May 11, 1975 (age 37) Santo Domingo, Dominican Republic
Bats: Right	Throws: Right
MLB debut
August 2, 1999 for the Detroit Tigers
Career statistics (through May 28, 2012)
Win-loss record	45–47
Earned run average	3.26
Strikeouts	780
Saves	329
Teams
Detroit Tigers (1999) Texas Rangers (2000–2006) Milwaukee Brewers (2006–2007) Cincinnati Reds (2008–2011) Toronto Blue Jays (2012–present)
Career highlights and awards
3x All-Star selection (2004, 2007, 2009)

Cordero pitching for the Rangers in 2005

Francisco Javier Cordero (born May 11, 1975 in Santo Domingo, Dominican Republic) is a Dominican professional baseball pitcher for the Toronto Blue Jays. Cordero is frequently referred to by his nickname, CoCo, which is a combination of the last two letters of his first name and the first two letters of his last name.^{[citation needed]}

Cordero throws a hard fastball—capable of reaching the upper 90s, and also has an excellent slider that he can throw for strikes early in the count, and which he uses as his out pitch. On June 1, 2011, Cordero recorded his 300th career save with the Cincinnati Reds, becoming only the 22nd player to reach that mark and ranks 2nd all time on that list among active players.

He attended Colegio Luz Arroyo Hondo High School in the Dominican Republic.

Baseball career[link]

Detroit Tigers[link]

Cordero made his first appearance in the Tigers organization with the Jamestown Jammers of the New York-Penn League in 1995, appearing in 19 games, making 18 starts, and going 4–10 with a 5.42 ERA in 108 innings pitched. Cordero then finished the 1995 season with the Fayetteville Generals of South Atlantic League, going 0–3 with a 6.30 ERA in four starts.

Cordero suffered through an injury plagued 1996 season, as he made only two starts with the Jammers, going 0–0 with a 0.82 ERA in 11 innings pitched, then with the Generals, he appeared in two games, making one start, going 0–0 with a 2.57 ERA in seven innings pitched.

He played the entire 1997 season with the West Michigan Whitecaps of the Midwest League, where Cordero was converted into a closing pitcher. In 50 games, Cordero had an excellent season, going 6–1 with a 0.99 ERA in 54.1 innings pitched, earning 35 saves.

Cordero began the 1998 season with the Lakeland Tigers of the Florida State League, appearing in just one game, allowing a hit to the only batter he faced before moving up to the Jacksonville Suns of the Southern League. In Jacksonville, Cordero appeared in 17 games, going 1–1 with a 4.86 ERA while earning eight saves.

He returned to Jacksonville for the 1999 season, as Cordero appeared in 47 games, going 4–1 with a 1.38 ERA while earning 27 saves with the Suns before earning a call-up to the Detroit Tigers.

Cordero made his MLB debut on August 2, 1999, pitching the ninth inning against the Chicago White Sox at Tiger Stadium. The first batter he faced was Chris Singleton, who grounded out. After Frank Thomas hit a single, Cordero managed to strikeout both Magglio Ordonez and Brian Simmons to end the inning. The White Sox ended up winning the game 6–2. Cordero earned his first MLB victory on August 31, 1999 in a 14–6 win over the Texas Rangers. He finished the season with a 2–2 record and a 3.32 ERA in 20 games out of the bullpen. On September 27, 1999, Cordero transported the home plate of the old Tiger Stadium after the last game played there to Comerica Park along with pitchers Matt Anderson and Jeff Weaver.

On November 2, 1999, the Tigers traded Cordero, Frank Catalanotto, Bill Haselman, Gabe Kapler, Justin Thompson and Alan Webb to the Texas Rangers for Juan González, Danny Patterson and Gregg Zaun.

Texas Rangers[link]

Cordero made his debut with the Texas Rangers on April 4, 2000, as he pitched 1.1 innings, allowing two runs, however, earned the victory as Texas defeated the Chicago White Sox 12–8 at The Ballpark in Arlington. He finished the season going 1–2 with a 5.35 ERA, pitching 77.1 innings with the Rangers.

Injuries slowed Cordero down in the 2001 season, as he appeared in only three games with Texas, going 0–0 with a 3.86 ERA. With the Oklahoma RedHawks of the Pacific Coast League, Cordero appeared in 12 games, going 0–0 with a 0.59 ERA and earning six saves in 15.1 innings pitched, striking out 20 hitters.

Cordero spent part of the 2002 season with Oklahoma, playing in 11 games, going 0–2 with a 5.84 ERA, while earning two saves. In Texas, Cordero earned his first career MLB save on June 19, 2002, striking out all three batters he faced in the tenth inning in a 7–4 win over the Chicago Cubs at Wrigley Field. He had a very solid season with the Rangers, going 2–0 with a 1.79 ERA, while earning 10 saves.

Cordero began the 2003 season as the set-up man for closer Ugueth Urbina, however, the Rangers traded Urbina to the Florida Marlins in July. In August, Cordero was named the Rangers closer, as he earned 12 saves during the last two months of the season. Overall, Cordero was 5–8 with a 2.94 ERA and 15 saves in 73 games pitched.

In 2004, Cordero was the Rangers closer for the entire season for the first time in his career, and he had an all-star season, going 3–4 with a 2.13 ERA and earning 49 saves, second only to Mariano Rivera of the New York Yankees in the American League, who had 53 saves. Cordero was named to the 2004 MLB All-Star Game at Minute Maid Park in Houston, Texas, but did not appear in the game.

Cordero had another very solid season in 2005, going 3–1 with a 3.39 ERA and 37 saves for the Rangers in 69 games pitched.

He began the 2006 season as the Rangers closer, however, Cordero struggled early in the season, as at the end of April, despite a 3–2 record, Cordero had an ERA of 11.45. He lost his job as the closer to Akinori Otsuka, and on July 28, 2006, Texas traded Cordero, Kevin Mench, Laynce Nix and Julian Cordero to the Milwaukee Brewers for Nelson Cruz and Carlos Lee. Cordero had a 7–4 record with a 4.86 ERA and six saves at the time of the trade.

Milwaukee Brewers[link]

Cordero with the Brewers in 2007

Cordero made his Brewers debut on July 28, 2006, pitching the ninth inning in a 4–3 loss to the Cincinnati Reds at Miller Park. Cordero took over the Brewers closers job from Derrick Turnbow, and earned his first save as a Brewer on July 30, 2006 in a 4–3 victory over Cincinnati. Cordero finished the season off strongly, going 3–1 with a 1.69 ERA in 28 games, earning 16 saves.

Cordero had a very successful 2007 season, as he was named the winner of "DHL Presents the Major League Baseball Delivery Man of the Month Award" for April, 2007. He was successful on his first 22 save attempts until June 9, 2007, Cordero blew his first save of the season against the Texas Rangers. Cordero played in the 2007 MLB All-Star Game at AT&T Park in San Francisco, where he allowed a home run to Carl Crawford of the Tampa Bay Devil Rays in his only inning of work. Cordero finished the season with a 0–4 record with a 2.98 ERA in 66 games, earning 44 saves, second in the National League to Jose Valverde of the Arizona Diamondbacks, who recorded 47 saves.

At the end of the season, Cordero became a free agent, and on November 28, 2007, Cordero signed a four year, $46 million contract with the Cincinnati Reds, the largest contract ever given to a relief pitcher at the time.

Cincinnati Reds[link]

Cordero made his Reds debut on March 31, 2008, pitching an inning in a 4–2 loss to the Arizona Diamondbacks at Great American Ballpark. Cordero earned his first save as a Red on April 3, 2008, pitching a scoreless ninth inning in a 3–2 win over Arizona. On April 5, 2008, Cordero earned his first victory with Cincinnati, getting the decision in a 4–3 win over the Philadelphia Phillies. He finished the 2008 season with a 5–4 record and a 3.33 ERA in 72 games pitched, earning 34 saves.

Cordero had another very solid season in 2009, going 2–6 with a 2.16 ERA in 69 games pitched with the Reds, registering 39 saves, and earned a spot at the 2009 MLB All-Star Game held at Busch Stadium in St. Louis, Missouri, where Cordero pitched a scoreless inning.

In 2010, Cordero played a key role as the Reds made the playoffs for the first time in 15 years, and it was the first time Cordero made the playoffs in his career. He had a 6–5 record with a 3.84 ERA in 75 games pitched, earning 40 saves. Cordero did not see any playing time in the post-season, as Cincinnati was swept by the Philadelphia Phillies in three games in the first round.

Cordero put together another very solid season in 2011, going 5–3 with a 2.45 ERA in 68 games with Cincinnati, while earning 37 saves. On June 1, 2011, Cordero earned the 300th save of his career in a 4–3 win over his former team, the Milwaukee Brewers.

Toronto Blue Jays[link]

On February 1, 2012, Cordero signed a 1 year, $4.5 million deal with the Toronto Blue Jays. Cordero is expected to begin the 2012 season as the Blue Jays set-up man to the newly acquired reliever Sergio Santos. Cordero was named the closer after a shoulder injury forced Santos onto the disabled list.^[1] Cordero was later moved back to the set up man (replaced by Casey Janssen) after poor performance in the closer role.

See also[link]

• List of Major League Baseball all-time saves leaders

References[link]

External links[link]

Wikimedia Commons has media related to: Francisco Cordero

• Career statistics and player information from MLB, or ESPN, or Baseball-Reference, or Fangraphs, or The Baseball Cube, or Baseball-Reference (Minors)

Julio César Baldivieso Rico (born 2 December 1971 in Cochabamba) is a former Bolivian association football midfielder who played for the Bolivian national team in the 1994 World Cup and several Copa Américas. He is currently a football manager.

Club career[link]

Nicknamed "El Emperador", Baldivieso began his career in his native Cochabamba playing for Wilstermann in 1987. His exquisite technique didn't go unnoticed and he signed with Bolivia's biggest football club, Bolívar in 1992. Thanks in part to the successful run with the national team, which qualified to the 1994 World Cup, he awoke the interest of several clubs outside Bolivia. After the World Cup, he transferred to Argentine team Newell's Old Boys from Rosario, where he played until the winter of 97. Subsequently, he joined J. League club Yokohama Marinos for a couple of years. As his career progressed, Baldivieso also exposed his talent in diverse leagues around the world; such is the case of Barcelona Sporting Club and Deportivo Quevedo in Ecuador, Cobreloa in Chile, Al-Nasr in Saudi Arabia, Al-Wakra in Qatar and Caracas in Venezuela. Towards the end of his career he returned to Bolivia and played for The Strongest, and later made his final run with Aurora on and off the field as he also managed the team. On July 19, 2009, being the Aurora's coach, he made debut his own 12 year old son, called Mauricio Baldivieso. At the end of the match he strongly criticized the referee and one opponent who made his son cry after a hard tackle. He quit Aurora 5 days later, after the club's board told him to pick between his job and his son. He also withdrew his son from the team.

Throughout his career, Baldivieso also played in 46 Copa Libertadores games altogether for three different teams and scored 11 goals.^[1]

International career[link]

Baldivieso made his debut for Bolivia on June 14, 1991 in a friendly match, losing 1-0 against Paraguay in Santa Cruz de la Sierra. He obtained a total number of 85 caps during his career, scoring fifteen goals. He played his last international match on October 12, 2005: a World Cup Qualifier against Peru in Tacna.

International Goals
#	Date	Venue	Opponent	Score	Result	Competition
1.	26/03/1994	Dallas, United States	United States	0–1	2–2	Friendly
2.	18/06/1995	Valera, Venezuela	Venezuela	1–3	1–3	Friendly
3.	11/02/1996	Lima, Peru	Peru	?–?	1–3	Friendly
4.	24/04/1996	Buenos Aires, Argentina	Argentina	3–1	2–1	World Cup Qualifier
5.	07/07/1996	La Paz, Bolivia	Venezuela	3–0	6–1	World Cup Qualifier
6.	15/06/1997	La Paz, Bolivia	Peru	2–0	2–0	Copa América
7.	18/06/1997	La Paz, Bolivia	Uruguay	1–0	1–0	Copa América
8.	05/03/2000	La Paz, Bolivia	Haiti	?–?	9–2	Friendly
9.	28/06/2000	San Cristóbal, Venezuela	Venezuela	2–2	4–2	World Cup Qualifier
10.	03/06/2001	La Paz, Bolivia	Venezuela	1–0	5–0	World Cup Qualifier
11.	03/06/2001	La Paz, Bolivia	Venezuela	5–0	5–0	World Cup Qualifier
12.	14/08/2001	Santiago, Chile	Chile	0–1	2–2	World Cup Qualifier
13.	07/11/2001	La Paz, Bolivia	Brazil	2–1	3–1	World Cup Qualifier
14.	07/11/2001	La Paz, Bolivia	Brazil	3–1	3–1	World Cup Qualifier
15.	10/09/2003	La Paz, Bolivia	Colombia	1–0	4–0	World Cup Qualifier

Club career statistics[link]

^[2]

International career statistics[link]

^[3]

Personal[link]

His son Mauricio Baldivieso is the youngest player to have played in a professional football match.^[4]

References[link]

External links[link]

• RSSSF statistics
• National Football Teams profile
• Profile at BoliviaGol.com (Spanish)

Julio César Baldivieso international tournaments v t e Bolivia squad – 1991 Copa América 1 Barrero 2 Rimba 3 Jiguchi 4 Saldías 5 Ferrufino 6 Rivero 7 Borja 8 Melgar 9 Suárez 10 Etcheverry 11 Moreno 12 Soria 13 J. Peña 14 Medrano 15 Soruco 16 Sánchez 17 Chávez 18 Molina 19 Á. Peña 20 Castillo 21 Baldivieso 22 Aragón Coach: Blacut v t e Bolivia squad – 1993 Copa América 1 Rojas 2 J. Peña 3 Sandy 4 Rimba 5 Quinteros 6 Borja 7 Villarroel 8 Melgar 9 Á. Peña 10 Etcheverry 11 Moreno 12 Torrico 13 Soruco 14 Ríos 15 Pérez 16 Cristaldo 17 Ramallo 18 Noro 19 I. Castillo 20 R. Castillo 21 Sánchez 22 Baldivieso Coach: Azkargorta v t e Bolivia squad – 1994 FIFA World Cup 1 Trucco 2 J. Peña 3 Sandy 4 Rimba 5 Quinteros 6 Borja 7 Pinedo 8 Melgar 9 A. Peña 10 Etcheverry 11 Moreno 12 Rojas 13 Soruco 14 Ramos 15 Soria 16 Cristaldo 17 O. Sánchez 18 Ramallo 19 Torrico 20 Castillo 21 E. Sánchez 22 Baldivieso Coach: Azkargorta v t e Bolivia squad – 1995 Copa América 1 Trucco 2 Castillo 3 Sandy 4 Rimba 5 J. Peña 6 Cristaldo 7 Angola 8 Melgar 9 A. Peña 10 Etcheverry 11 Mercado 12 Torrico 13 Sánchez 14 Ramos 15 Quinteros 16 Ruiz 17 Suárez 18 Borja 19 Arteaga 20 Baldivieso 21 Medeiros 22 Soria Coach: López Habas v t e Bolivia squad – 1997 Copa América Runners-up 1 Trucco 2 Peña 3 Sandy 4 Rimba 5 Ó. Sánchez 6 V. Soria 7 S. Castillo 8 Melgar 9 Moreno 10 Etcheverry 11 Gutiérrez 12 M. Soria 13 Jiguchi 14 Tufiño 15 Blanco 16 Cristaldo 17 Méndez 18 Coimbra 19 I. Castillo 20 R. Castillo 21 E. Sánchez 22 Baldivieso Coach: López Habas v t e Bolivia squad – 2001 Copa América 1 Arias 2 Loayza 3 Sandy 4 Colque 5 Carballo 6 Justiniano 7 Ribeiro 8 Calustro 9 Botero 10 Baldivieso 11 Paz 12 Barrientos 13 Escalante 14 García 15 Álvarez 16 Raldes 17 Jiguchi 18 Gutiérrez 19 Coimbra 20 Galindo 21 Rojas 22 Suárez Coach: Aragonés