Home Entertainment Luis de Pablo, composer of the soundtracks of Carlos Saura’s movies, died

Luis de Pablo, composer of the soundtracks of Carlos Saura’s movies, died

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Luis de Pablo, composer of the soundtracks of Carlos Saura's films, died

The Spanish composer Luis de Pablo, name participant Era of ’51, who sought within the mid-twentieth century and in the course of the Franco regime an method to European avant-garde music, and well-known for his soundtracks for movies by Carlos Saura and different filmmakers, died in Madrid this Sunday, October 10, at 91 years.

Born in Bilbao in 1930, he carried out pioneering work within the dissemination of latest cult music in Spain and was the creator of the primary laboratory of electroacoustic music on the peninsula.

With out having stopped learning music, he completed his regulation diploma in 1952 and two years later he made his first important compositions: Innovations and Feedback.

The sounds of Saura

His hyperlink with the cinema started in 1960, when he put music to the documentary Day of the Useless, by Joaquim Jordà and Julián Marcos, and later it transcended by its soundtracks to The hunt (1966), Peppermint frappe (1967), The burrow (1969) and Ana and the wolves (1973), all by Carlos Saura.

Carlos Saura Had A Composer In De Pablo Who Accompanied Him Throughout Numerous Films.

Carlos Saura had a composer in De Pablo who accompanied him all through quite a few movies.

Different Spanish filmmakers selected their expertise: Angelino Fons in The search, from 1966, Victor Erice (The spirit of the hive, 1973 and The South, 1983), Gonzalo Suárez (Carrot queen, 1977), Jaime Chávarri (To an unknown god, 1977), Ricardo Franco (Pascual Duarte, 1978) and Emilio Martínez Lázaro (Max’s phrases, 1978).

I have almost always composed for an interpreter in the abstract, but in some cases it has not been like that, when there has been a singer or a specific group that has asked me for a work, “he stated in an interview with Ibero-American Music Notebooks.

“I am sure that there must be points of contact in my work with many of my current colleagues, but I find it difficult to define them due to a lack of perspective. On the other hand, the claim of individual aesthetic independence is a bit naive, it is equivalent to saying that we were born by spontaneous generation “, stated the artist.

And he put that concept so as: “I believe that all human beings are communicating vessels, there is a part that is our own and another that is shared among all.”

The Argentine connection

In 1964, De Pablo organized a primary (and final) Modern Music Biennial. In 1969 traveled to Argentina, invited to show programs on the Torcuato di Tella Institute from Buenos Aires and Santa Fe.

Put up to touch upon the function Operetta, a reference of Spanish music, stated: “I am grateful to the zarzuela to the extent that it was one of the first music I heard (the first, that I remember, was Mozart but, as live music, it was the zarzuela). ”

Nevertheless, he clarified: “To be honest, if I had been given a choice, of course, seeing it from our perspective, I would have chosen to listen to another type of music. I was then six years old and in Madrid during the Civil War the only thing that worked was the zarzuela. I don’t think it constitutes a reference for my music. If it exists, it is unconscious. “

Amongst different awards and gratitudes, he obtained the gold medal of the Circle of Superb Arts Madrid and in 2020 he was awarded the Golden Lion of Music of the Venice Biennale, in recognition of his total profession.

With EFE Company

Reference from clarin