The official chronicler of Telde, Pedro Hernández Benítez, did not detail the specifics of the Hymn to the Holy Christ of the High Altar in his magnum opus about the city. However, in his personal archive, preserved by his nephew Pedro Cabrera Hernández, a note was found attributing the composition to two main figures: maestro Arturo Canalejas Aranda for the music and Rev. Leandro Medina Pérez for the lyrics. Both Canalejas and Medina Pérez are the central figures associated with this well-known musical piece.

Nevertheless, a question arises regarding the full participation in the final score. Arturo Canalejas was married to Carmen de Montes Ranz; both were trained musicians from Madrid. While Canalejas directed municipal bands, De Montes focused on piano teaching. Both studied at the Royal Higher Conservatory of Music in Madrid and composed various works, including the Hymn to Our Lady of Las Maravillas. The close collaboration between Arturo and Carmen led to suspicions that she had a significant influence on the final outcome of their compositions, even if he was the credited author.

Arturo Canalejas and Carmen de Montes met in Madrid during the 1930s, sharing stages in cafes and casinos. Canalejas was known for his preference for powerful and emotive music, a characteristic he applied to the Hymn to the Holy Christ of Telde, deeply moving devotees. His experience directing municipal bands in regions like Murcia and Valencia provided him with great skill in connecting with audiences.

The collaboration between Arturo Canalejas and Carmen de Montes was profound. While Canalejas possessed his own merits, Carmen, an expert in music, supervised his works. Sometimes her role was one of approval and admiration, but at other times she offered suggestions to improve the work, thus contributing to greater success. This artistic synergy suggests that the Hymn to the Holy Christ of Telde may have benefited from their shared musical vision.