(by Leonidas D'Santiago)

Milano is a composer, arranger and teacher born in Caracas on July 21, 1926. In the year 1938, his mother gets to know Maestro Ángel Sauce, and through him she finds out the existence of the School of Military Bands and that is how Daniel Milano enters there in year 1940 to carry out studies with Carlos Bonnet, its director, and with other educators as important as José Antonio Lagonell, with whom Milano studied music theory and clarinet, and Antonio R. Narváez. In 1941 he obtains the musician's Third Class diploma granted by the Ministry of War and Marine. This allows him to join the Martial Band of the Chivalry Regiment Post No.1, as first clarinetist, when he was just sixteen years old. There he stays until year 1954, reaching even being the band's assistant conductor. Soon thereafter, he begins an intense activity as instrumentalist and arranger for dance orchestras such as 'Leonard Melody', 'Continent Swing Boy', 'Chucho Sanoja', 'Aldemaro Romero', 'Belisario Brothers' and 'Los Peniques' (The Pennies), and for radio and television orchestras and bands. In year 1949, his friend and partner from the Bolivar Band of Caracas, Federico Williams, introduces him to Vicente Emilio Sojo, and subsequently he joins the J.A. Lamas Music School where he studies two years of harmony with Primo Moschini, and thereafter, superior studies of harmony, counterpoint and composition with Sojo. Since he had interrupted his studies due to economic reasons for he had to earn a living performing saxophone, clarinet and flute in dance orchestras in the nightclubs of Caracas, after eighteen years, he graduates as Master Composer on July 15, 1967, with his symphonic poem El Ávila. Between years 1971 and 1972, he studies choral and orchestra conducting with Gonzalo Castellanos and Alberto Grau, respectively. In the fifties he starts friendship with María Luisa Escobar, to whom he dedicates his waltz María Luisa, and with whom he will share responsibilities during the sixties, at the Venezuelan Association of Authors and Composers (SACVEN).

He has carried out a long educational trajectory, first at the Military Bands School, and as from year 1958, with the Lino Gallardo School of Music up to year 1980, when he was appointed director to the José Reyna Music School. He was also teacher for the José Lorenzo Llamozas School of Music in years 1980 - 1982. In year 1968, he founds the Musical Training School Roberto Marcano from the Musical Association of the Federal District and State of Miranda, and in 1983, the Children School of Music Adelo Alemán.

He founds and conducts choirs such as the Lino Gallardo, 1972 -1980, the Roberto Marcano, the S. Vicente Paul's, 1975-1977, the Children Choir José Reyna, 1983, El Grupito (the Tiny Group) 1983-1984. As a result of these educational activities derive important pedagogic materials such as La entonación-canción-arrullo-lección, corre corre mi caballo (Intonation-song-cooing-lesson, run, run my horse), or such compositions as El agua (The water), El molinero (The miller), El balandro (The sloop), Rosa (Rose) and arrangements as Niño lindo (Pretty child), Cantemos, cantemos (Let's sing; let's sing), La jornada (The journey), Brumas del mar (Sea mists), El catre (The bed-stead), Noche de paz (Night of Peace), etc., as well as pedagogic materials such as Children Methodological Guide and Adults Methodological Guide. For the years 1981-1982, he was conductor of the Band of the Aragua State, and from 1982 to 1983 of the State of Miranda's Band.
  
He has been sporadically invited as a performer for the Venezuela Symphonic Orchestra. As of 1951 begins writing arrangements for different groupings and singers such as El cuarteto criollo, Chucho Sanoja, Los melódicos, etc. at the time he was with the Bolivar Band. He also accomplishes an intense and long union work with the Musical Association and the Composers Union. So much for this latter activity as well as for his diverse facets as a musician, a long listing of diplomas and recognitions have been granted to him that we cannot point out here due to space reasons.

His work will always be signed by a strong nationalist character, in both, his academic and popular music work. The works of academic character composed during or in the later years to his composition studies at the J.A. Lamas School of Music, are pragmatic and nationalist as is the case of his symphonic poem El Ávila, where he recalls an excusión he made to the mountain that separates Caracas from the coast, when he was fourteen years old. In the piece he seeks to describe the cascades, the birds' songs, the flowers of Galipán, the muleteer's whistle. The same will happen with the Suite sinfónica escolar (School Symphonic Suite), which three movements remember Venezuelan melodies such as the children theme El grillo (The rooster), Palomita blanca (Little white dove), or descriptive intention as in the third movement, Semblanza de Carabobo (Sketch of Carabobo), where the National Hymn of Venezuela is featured as a sign of the definitive victory in the country's liberalization process. Evidently, this programmatic and nationalist tendency was in the atmosphere that Vicente Emilio Sojo took ahead with so much success.

Another of the composer' side as such, is in his work for bands fruit of his musical beginnings at the School of Military Bands, and its affective and sentimental bonds with the military world. His years long large output, be it his own or from choral arrangements, takes up an important part of his life. The great majority of these works responds to his needs as a teacher and choir conductor. The case of Maestro Milano is a particular one in Venezuela because, although popular music has had and has great musicians, very few, however, have had academic formation. In fact, most of his output has been linked with popular music where dance music has a preponderant place. In any event, all of his production is marked by his nationalistic keenness. He is one of the great composers of national airs, especially waltzes. Contrary to his mates, all Sojo's students, he put emphasis in a popular nationalism. Regrettably, few of his compositions were first performed, and none published. Thirteen tracks reached the long-play. As an arranger he worked more than two hundred Venezuelan themes going from the symphonic orchestra version of the Radio Caracas March by Carlos Bonnet, up to typical orchestral groups, dance or corals arrangements. His works' original scores remain in the composer's personal file.

His work will always be signed by a strong nationalist character, in both, his academic and popular music work. The works of academic character composed during or in the later years to his composition studies at the J.A. Lamas School of Music, are pragmatic and nationalist as is the case of his symphonic poem El Ávila, where he recalls an excusión he made to the mountain that separates Caracas from the coast, when he was fourteen years old. In the piece he seeks to describe the cascades, the birds' songs, the flowers of Galipán, the muleteer's whistle. The same will happen with the Suite sinfónica escolar (School Symphonic Suite), which three movements remember Venezuelan melodies such as the children theme El grillo (The rooster), Palomita blanca (Little white dove), or descriptive intention as in the third movement, Semblanza de Carabobo (Sketch of Carabobo), where the National Hymn of Venezuela is featured as a sign of the definitive victory in the country's liberalization process. Evidently, this programmatic and nationalist tendency was in the atmosphere that Vicente Emilio Sojo took ahead with so much success.

Another of the composer' side as such, is in his work for bands fruit of his musical beginnings at the School of Military Bands, and its affective and sentimental bonds with the military world. His years long large output, be it his own or from choral arrangements, takes up an important part of his life. The great majority of these works responds to his needs as a teacher and choir conductor. The case of Maestro Milano is a particular one in Venezuela because, although popular music has had and has great musicians, very few, however, have had academic formation. In fact, most of his output has been linked with popular music where dance music has a preponderant place. In any event, all of his production is marked by his nationalistic keenness. He is one of the great composers of national airs, especially waltzes. Contrary to his mates, all Sojo's students, he put emphasis in a popular nationalism. Regrettably, few of his compositions were first performed, and none published. Thirteen tracks reached the long-play. As an arranger he worked more than two hundred Venezuelan themes going from the symphonic orchestra version of the Radio Caracas March by Carlos Bonnet, up to typical orchestral groups, dance or corals arrangements. His works' original scores remain in the composer's personal file.

Works
For Orchestra:
- El Ávila, symphonic poem, 1967

For Soloist and Orchestra:
- Concierto para clarinete en si bemol (Concert for clarinet in B flat) 1966
- Suite sinfónica escolar Co. (School Symphonic Suite) 1973

For Dancing Orchestra:
- Que más da (What would it matter) bolero, 1952
- La reina (The queen) waltz, 1956
- Melancolía en alto (Melancholy at the most) bejín, 1957
- La canción que te prometí (The song I promised you) bolero, 1958
- Quiero pensar (I want to think) bolero, 1962
- El mundo se acaba (The world ends) 1962
- Danielito Cuban pachanga, 1962
- Sueño y fantasia (Dream and fantasy) bolero, 1968

Chamber Music:
- Sonata for strings for two violins, viola and cello, 1965
- Romance for piano and violin, 1965
- Rosa Aurora for piano and violin, 1981

Venezuelan groups and Typical Orchestras:
- Trinidad, waltz, 1952
- Morocha (Twin) waltz, 1952
- Milanerías, waltz, 1954
- Tu recuerdo (Your remembrance) waltz, 1954
- El sanjuanero (The one from San Juán) joropo, 1956
- Ensueño merideño (Mérida daydream) waltz, 1957

Marches for Band:
- Regimiento de Caballería (Chivalry Regiment) 1943
- Ambrosio Plaza 1943
- Santa Cecilia 1957
- Captain Carlos Bonet 1961
- Cañones de Carabobo (Canyons of Carabobo) 1961
- Maestro Higinio Tupano < El policía >
   (Professor Higinio Tupano, the Policeman) 1962
- Maestro Antonio Narváez < Command > (Professor Antonio Narváez, Command) 1962
- José Antonio Lagonell < Alas plateadas > (José Antonio Lagonell, Silver wings) 1962
- Maestro Nicolás Leal < El soldado > (Professor Nicolás Leal, The Soldier) 1962
- Maestro Vicente Martucci < Proas Avante >
   (Professor Vicente Martucci, Proas Avante) 1962
- Capitán Servio Tulio Villazmil < El cadete >
   (Captain Servio Tulio Villazmil, The Cadet) 1962
- Julio Cesar Chacón, < El banda > (Bandman) 1962
- El policía cadete (The policeman cadet) 1970
- Marcha al Nazareno (March to the Nazarene) 1970
- General de División Medina Isaías Angarita < Infante de las siete estrellas >
   (Major General Medina Isaías Angarita, the seven stars' Infant) 1979
- General en Jefe Eleazar López Contreras < Guardia Nacional >
   (Chief General Eleazar López Contreras, National Guard) 1979
- Suite pedagógica (Pedagogic Suite) 1985

Chorale Music:
- La entonación (The intonation) 1972
- Si soplara norte franco (If frank north blew) for six voices, 1972
- La niña pinta una casa (The girl paints a house) for three voices, 1973
- La Navidad (Christmas) for three voices, 1973
- Dios te salve María (Save you God Maria) for six voices, 1974
- Nada más (Nothing else) for six voices, 1974
- El cañón (the canyon) for six voices, 1974-1981
- Ya llegó la navidad (Christmas has already arrived) for six voices, 1974-1981
- El agua (the water) for three voices, 1975
- Molinero (Miller) for three voices, 1975 
- Rosa (Rose) for three voices, 1975
- Canción (song) 1975
- Tilín (Ting-a-ling) 1977
- La niña muda (The mute girl) for six voices, 1979
- Resplandor (Gleaming) for three voices, 1983
- Duerme (Asleep) 1983

For piano solo:
- Recuerdos de España, fantasía (Memories of Spain, fantasia) 1957
- Tú mi nspiración (You, my inspiration, Venezuelan waltz) 1966
- La tristreza de tus ojos (The sadness of your eyes, Venezuelan waltz) 1967
- Vals para Caracas (Waltz for Caracas) 1976
- Regalo (Gift, waltz) 1970
- Carolina (Caroline, waltz) 1976
- Suite El Cogollito (Suite The tiny heart)
- El pianito (The tiny piano, waltz)
- El cogollito Merengue (The tiny heart merengue)
- El coplero (The copla singer, joropo) 1978-1985
- Hilda, waltz 1979
- Sofía, waltz 1979
- Alecia, waltz 1979
- Olguita, waltz 1979
- El inolvidable (The unforgettable one, waltz) 1979
- Elina, waltz 1979
- María Luisa, waltz 1982
- Vesperal (Vespers, waltz) 1984
- Allá, en el cenit (There, in the Zenith, waltz) 1984
- Nocturnal (Nocturnal, waltz) 1984
- Epílogo (Epilogue, waltz) 1985

Voice and Piano:
- Mi dulce sueño (My sweet dream) 1963
- A mi madre (To my mother) 1965
- Aurora (Dawn) 1965
-  El naranjo (The orange tree) 1975
- La cobija (The blanket) 1976
- Muchachita (Little lassie) 1978
- Oh mística (Oh mystic) 1983
- Oh ámame (Oh, love me) 1983
- Rostros (Faces) 1984
- Regálame esta noche (Give me this night as gift) 1984
- Un sueño de amor (A dream of love) 1984
- Angustia (Anguish) 1984
- Despierta (Wake up) 1984
- Dime (Tell me) 1984
- Para decirle adios (To tell her good-bye) 1986

Voice and Instrumental Group:
- A tu recuerdo (To your memory, bolero) 1946
- Quiero recordar (I Want to remember, bolero) 1951
- Corazón (Heart, bolero) 1956
- Imposible (Impossible, bolero) 1956
- No puede ser (It cannot be, bolero) 1957
- La última canción (the last song, bolero) 1957
- Fe y esperanza (Faith and hope, bolero) 1959
- Quisiera regresar (I'd love to return, violas) 1963
- Fiel profecía (Faithful prophecy, waltz) 1963
- Anda negrita (Come on, negrita, merengue) 1965
- La insignia (The badge, joropo) 1966
- Sultana del Ávila (Sultana of the Ávila, waltz) 1967
- Canción sin palabra (Song without word, lullaby) 1974
- Despedida (Farewell, waltz) 1983
- Sueños de poeta (Poet's dreams, Venezuelan waltz) 1983
- De donde vienes tú (Where do you come from? ballad) 1983
- Parece una eternidad (It Seems an eternity, ballad) 1983
- Déjame (Leave me, tango) 1983
- Cuál de esos besos (Which of those kisses, bolero) 1983
- Dime (Tell me, bolero) 1983
- Cómo hacer (How to do, bolero) 1984
- Ruego (I beg, ballad) 1984
- Mi último suspiro (My last sigh, bolero) 1984
- No te hablaré (I won't speak to you, bolero) 1984
- No es posible (It's not possible, bolero) 1984
- Que te pasa corazón (What happens, sweetheart, bolero) 1984
- Cuando quieras (Whenever you want, song-bolero) 1986
- Sí (Yes, tango) 1986
- Ya ves (You see, song-bolero) 1986.

Source:
Angel, Yolanda, Daniel Milano Mayora, his life and musical work (Venezuelan Encyclopedia of Music)