A return to the order of symmetries and equilibriums dictated by the ideals of Classical Antiquity. This is always the reaction that ultimately takes place when the extreme artifice dominates a period in music history. These swinging movements can also be seen in art history and philosophy. But in the particular case of music, this aesthetic return had plenty of fanciful longing in view of the inexistence of specific models to imitate, that is, the lack of extant musical works. This series covers the four critical points in history that vindicated the revival of the Classicist ideals, situated around 1550, 1600, 1780 and 1920, in chronological order.