luis de pablo “we (nosotros)” compact disc-recordable

• «we» («nosotros») musica electrónica • primera parte (23:02)
  
  
• «we» («nosotros») musica electrónica • segunda parte (17:00)

creel pone press release...

this creel pone edition includes: 1 x crystal-clear re-sealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior 1 x double-sided professionally printed full-color semi-gloss photo-stock booklet 1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom cd sleeve prolific in every musical genre, and arguably more active on the international contemporary music scene than any other spanish musician, luis de pablo (born bilbao, 1930) is a multi-linguist of extraordinary culture. he has pursued interest in the most diverse subjects outside music and his artistic and literary influences range widely. luís de pablo and cristobal halffter were the key members of the group of composers often known as the 'generation of '51'. these young musicians finished their studies and began their professional careers around 1951, with a mission after the civil war to help spain catch up with european musical developments. de pablo's own explorations helped to accelerate that process of development. he quickly assimilated atonalism and serialism, aleatory forms, graphic experiments and electronic techniques. he was one of the founders of grupo nueva musica in 1958, and founded tiempo y musica the following year. he has held university teaching appointments in usa and canada and taught many of spain's younger composers. tomas marco considers luís de pablo to be 'the moving spirit of an entire era of spain's musical history'. he has traversed most of the dominating trends, decade by decade, but always putting a personal stamp upon them. he turned swiftly from serialism to aleatorics. he investigated timbre, and as early as 1961 in libro para el pianista was exploring 'new possibilities for an old instrument'. he developed 'modules', units to be combined in fixed or mobile structures. he integrated quotations from works by earlier composers into complex structures. schoenberg's verklarte nacht is played as a background to his orchestral quasi una fantasia, the four elephants ivres are based upon a motet by victoria, vielleicht for percussion upon a beethoven bagatelle. dibujos (1979) is derived from parts of affetuoso, a kit of separate pages for piano, one of them a joke recomposition of the scherzo from beethoven's 'hammerklavier' sonata, op. 106. all of de pablo's music tends to grow from a few ideas which are variously presented to show different sides of the same material. without compromising himself he has regularly recomposed and radically redesigned major works for different, often smaller, forces. luis de pablo is a delightful raconteur and assiduous correspondent, whose long letters from all over the world, written on the backs of carefully chosen picture postcards are treasurable. at sixty-nine, living on 'borrowed time' since a heart attack, he is a happy workaholic who cannot stop composing, touring and teaching, whatever his doctors may have advised. although based in madrid, he enjoys regular summer working holidays at his retreat in the basque country, "i need a quiet spot to put my order and disorder into sounds". it is to be hoped that de pablo's 70th birthday, in january 2000, will not be overlooked in this country. comentarios tomados de "luís de pablo", de peter grahame woolf