The Epilogue summarizes the obstacles encountered, as well as the advances achieved, during the emergence of banking in Latin America from independence in the early nineteenth century down to the first decade of the twentieth century. This history is described as part of a long phase of slow capitalism that, eventually, led to faster economic growth and some convergence with more advanced nations, albeit subject to diverse trajectories. The Epilogue also raises questions regarding the building of authentic banking systems from the early twentieth century onwards, as well as the establishment of central banks from the 1920s and 1930s.

This chapter explores the chamber music of Maconchy, delving into her creative process, influences, and the socio-political context in which she worked and highlighting her commitment to chamber music – especially the string quartet – as a medium for personal expression and intellectual discourse. The paper situates her work within the broader landscape, drawing connections to Bartók and Brahms. It discusses the challenges Maconchy faced as a woman in a male-dominated field, including limited performance opportunities and the perception of her music as elitist. Through case studies of key works, such as her Oboe and String Quintet and Fourth String Quartet, it illustrates her innovative use of instrumentation and thematic development. Ultimately, it argues that Maconchy’s chamber music is a vital contribution to the cultural and political dialogues of her time and calls for a re-evaluation of her music in light of its technical rigour and expressive depth.