Pablo (Costales), Luís (Alfonso) de

Pablo (Costales), Luís (Alfonso) de, eminent Spanish composer and teacher; b. Bilbao, Jan. 28, 1930. He commenced his musical training in Fuenterrabia when he was 8. After settling in Madrid, he pursued the study of law at the Universidad Complutense (graduated, 1952) while continuing his musical training on his own. In 1958 he joined the Nueva Música group. In 1959 he organized the Tiempo y Música group, with which he presented concerts of contemporary chamber music until 1963. He founded the Forum Musical in 1963 for the purpose of giving concerts of contemporary music. In 1964 he served as the artistic organizer of the first gathering of the Música Contemporânea of Madrid. He founded the new music group Alea and the first electroacoustic music laboratory in Spain in 1965. In 1967 he was in Berlin as a guest of the Deutscher Akademischer Austauschdienst. In 1968 he founded Alea, Mùsica electrónica libre, a group that presented performances of live electroacoustic music. He became a prof, of contemporary music analysis at the Madrid Cons, in 1971. With José Luis Alexanco, he served as co-director of the Encuentros de Arts in Pamplona in 1972. In 1973 he was the Visiting Slee Prof, at the State Univ. of N.Y. at Buffalo, and in 1974 he was a prof, of contemporary music analysis at the univs. of Ottawa and Montreal. In subsequent years, he lectured widely on contemporary music in Spain and abroad. He became president of the Spanish section of the ISCM in 1981. In 1983 he was made director of the Centro para la Difusión de la Música Contemporânea of the Ministry of Culture. In 1994 he was composer-in-residence at the Spanish Academy in Rome, and in 1998–99 at the Strasbourg Cons. In 1973 the French government honored him with the title of Chevalier des Arts et des Lettres, and in 1986 it bestowed upon him the Médaille d’Officier de l’Ordre des Arts et des Lettres. In 1986 King Juan Carlos of Spain presented him with the Medalla de Oro al Mérito en las Bellas Artes espanolas. He was made a full member of the Real Academia de Bellas Artes de San Fernando of Madrid and a corresponding member of the Academy of Granada in 1988. In 1991 he was awarded the Premio Nacional de Música by the Ministry of Culture, and in 1993 he was awarded its diploma of the Consejo Internacional de la Música. He was awarded an honorary doctorate in fine arts and music from the Univ. of Madrid in 1997. In his compositions, he has demonstrated a remarkable versatility in handling various techniques. All the while, he has remained true to himself by finding his own compositional path in which each score becomes a thoroughly new adventure in sound. This is so whether he utilizes traditional instruments or ranges into other sound worlds, such as electronic manifestations.

Works dramatic

Per diversos motivos for 2 Actors, Soprano, 12 Voices, and Piano (1969); Berceuse for Actor, Soprano, 3 Flutes, 2 Percussionists, and Hammond Organ (1973–74; Buffalo, Jan. 26,1975); Sólo un paso for Actor and Flute (Bremen Radio, May 1974); Very Gentle for Soprano, Countertenor, and 2 Instrumentalists (Royan, April 3, 1974); Kiu, opera (1979–82; Madrid, April 16, 1983); El viajero indiscreto, opera (1984–88; Madrid, March 12, 1990); La madre invita a comer, opera (1992; Venice, June 19, 1993); La Senorita Cristina, opera (1997–99); incidental music; film scores. orch.:Sinfonias for Chamber Orch. (1954–66; Madrid, Dec. 17, 1966); Invenciones (1955; rev. 1959–60; Madrid, June 15, 1960); Radial for 24 Instruments (1960); Tombeau (1962–63); Iniciativas (1965–66); Módolus II for 2 Orchs. (1966; Madrid, Oct. 24,1967); Imaginário II (1967); Quasi una fantasia for String Sextet and Orch. (1969); Oroitaldi (1971; Monte Carlo, Dec. 3, 1972); Éléphants ivres I (1972; Madrid, April 27,1973), III (1973), and IV (1973); Je mange, tu manges for Chamber Orch. (1972); Latidos (1974–80; Radio France, Paris, Jan. 23, 1981); Tinieblas del agua (Metz, Nov. 18, 1978); 2 piano concertos: No. 1 (1978–79; Madrid, March 1,1980; also as Concierto de câmara for Piano and Chamber Orch., 1979; Quebec, Dec. 11, 1980) and No. 2 (1979–80; Santander, Aug. 5, 1982; also as Concerto for Harpsichord, 2 Percussion, and Strings, Naples, Dec. 16,1983); Adagio (1983; Hilversum, March 2, 1984); Adagio-Cadenza-Allegro spiritoso for Oboe and Orch. (Murcia, April 18, 1987); Fiesta for 6 Percussionists and Orch. (1987; Rennes, Feb. 1988; also for 6 Percussionists, 1989); Senderos del aire (1987; Tokyo, Nov. 4, 1988); Une couleur for Saxophone and Orch. (1988; Fontenai, Jan. 20,1989); Figura en el mar for Flute and Orch. (1989; Metz, Nov. 17, 1990); Cinco impromptus (1990; San Sebastian, Jan. 28,1991); Las orillas (1990; Tenerife, Jan. 7,1991); Suenos for Piano and Orch. (1991; Parma, June 5, 1992); Vendaval (1994; Brussels, Feb. 12, 1995); Tréboles (1995; Valladolid, Feb. 1996); Rostro for Chamber Orch. (1995; Cadaqués, Aug. 1996); Violin Concerto (1997–98; Madrid, Nov. 19, 1999). chamber:Coral for 7 Instruments (1954; rev. 1958); Polar for 11 Instruments (1961); Prosodia for 6 Instruments (1962); Condicionado for Flute (1962); Recíproco for Flutes, Piano, and Percussion (Venice, April 13, 1963); Cesuras for 6 Instruments (Madrid, Dec. 11, 1963); Módulos I for 11 Instruments (1964–65; Darmstadt, July 31, 1965), IV for String Quartet (1965–67), 177 for 17 Instruments (1967; North German Radio, Hamburg, Jan. 9,1968), and V for Organ (1967); Imaginário I for Harpsichord and 3 Percussion (1967); Paráfrasis for 12 Instruments (1968); La libertad sonne for 15 Instruments (Salamanca, May 7, 1971); Promenade sur un corps for Flute and Percussion (1971); Éléphants ivres II for Chamber Ensemble (1972); Historia natural for 2 Organs, Percussion, and Tape (1972); Pardon for Clarinet and Trombone (Warsaw, Sept. 1972); Soirée for Clarinet and Violin (1972); Le prie-dieu sur la terrasse for Percussionist (1973; Barcelona, Feb. 22, 1974); Vielleicht for 6 Percussionists (1973; Royan, March 27, 1975); Déjame hablar for Strings (1974; Royan, March 27,1975); Visto de cerca for 3 Instrumentalists and Tape (1974); A modo concierto for Percussion and Instruments (1975–76); Credo for 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, and 2 Horns (1976; Madrid, April 30, 1977); Invitación a la memoria for Chamber Ensemble (1976–77; Saintes, July 18, 1978); Lerro for Flute (1977); Oculto for Bass Clarinet or Saxophone (1977); Trio for Violin, Viola, and Cello (1978; Madrid, Nov. 3, 1980); Dibujos for Flute, Clarinet, Violin, and Cello (1979–80; Madrid, April 29, 1980); Tornasol for 2 Flutes, 2 Clarinets, Violin, Viola, Cello, Double Bass, and Tape (1980–81; Marseilles, Feb. 23, 1982); Ofrenda (Seis piezas a la memoria de Manuel Azaria) for Cello (1980–82; N.Y., April 1983); Saturno for 2 Percussionists (1983); Cinco meditaciones for Chamber Ensemble (1983–84; San Sebastian, Aug. 26,1984); J. H. for Clarinet and Cello (1983–84); Cuatro fragmentos de Kiu for Violin and Piano (1984–86; also for Flute and Piano, 1985–86; Madrid, June 18, 1986); Caligrafias (Federico Mompou in memoriam) for Piano, Violin, and Cello (1987; Santander, Aug. 9,1988); Notturnino for Chamber Ensemble (1987); II violino spagnolo for Violin (1988); Compostela for Violin and Cello (1989); Fiesta for 6 Percussionists (1989; also for 6 Percussionists and Orch., 1987); Metáforas for Piano, 2 Violins, Viola, and Cello (1989–90; Madrid, Nov. 7, 1990); Melisma furioso for Flute (Tokyo, Sept. 1, 1990); Sextet, Paráfrasis e interludio, for 2 Violins, 2 Violas, Cello, and Double Bass (1990; Reykjavik, Feb. 1991); Monòlogo for Viola (1990–92); Libro de imágenes for 9 Instruments (Amsterdam, June 1992); Fábula for Guitar (1991–92; Madrid, March 12, 1992); Paraíso y Três danzas macabras for Chamber Ensemble (1992); Parodia for 2 Violins, Viola, and Cello (Madrid, Dec. 6, 1992); Ritornello for 8 Cellos (1992–93; Santander, Aug. 22, 1993); Segunda lectura for 10 Instruments (1992–93); Umori for Flute, Oboe, Clarinet, Trumpet, and Bassoon (1992–93; Bologna, April 28, 1993); Caligrafia serena for 2 Violins, Viola, and Cello (1993); Trio for Violin, Cello, and Piano (1993); Monos y liebres for Bass Clarinet and Marimba (1995); Flessuoso for String Quartet (1996; Bilbao, Dec. 1997); Soliloquio for Flute (1997–98; Asiago Festival, Aug. 1998); Corola for Saxophone Quartet, Piano, and Percussion (1997–98; London, Dec. 1998); Clarinet Quintet (1998–99; Madrid, April 1999). Piano: Móvil for 2 Pianos (1957) and 77 for Piano, 4–Hands (1959–67); Sonata (1958; Madrid, March 6, 1960); Libro para el pianista (1961–62); Comme d’habitude for 1 Pianist on 2 Pianos (1970); Affettuoso (1973); Cuaderno (1982); Retratos y transcripciones (2 books, 1984–92,1996); Amable sombra for 2 Pianos (1989). vocal:Comentários a dos textos de Gerarão Diego for Soprano or Tenor, Piccolo, Vibraphone, and Double Bass (1956; Barcelona, May 11, 1960); Escena for Chorus, 2 Percussion, and 15 Strings (1964); Ein Wort for Soprano, Piano, Violin, and Clarinet (1965); Heterogéneo for 2 Reciters, Hammond Organ, and Orch. (1967); Yo lo vi for Chorus (1970); Visto de cerca for 3 Men’s Voices and Electronics (1974); Al son que tocan for Soprano, 4 Basses, 8 Instruments, and Tape (1974–75; Madrid, Nov. 18, 1975); Portrait imaginé for Chorus, Chamber Orch., and Tape (1974–75; Ottawa, Oct. 1, 1975); Zurezko olerkia for Chorus, 2 Txalapartas, and 4 Percussionists (1975; Bonn, May 24, 1976); Bajo el sol for Chorus (1977; Cuenca, March 25, 1978); Ederki for Soprano, Viola, and Percussion (1977–78; Naples, June 17, 1978); Canción for Soprano, Oboe, Trumpet, Celesta, and Harp (1979); Pocket zarzuela for Mezzo-soprano, 2 Flutes, Clarinet, Violin, Cello, and Piano (Bonn, Oct. 9, 1979); Retratos de la conquista for Chorus (Lille, Nov. 15,1980); Sonido de la guerra for Soprano, Tenor, Reciter, Small Women’s Chorus, Flute, Harp, Celesta, 2 Percussionists, and Cello (1980; Madrid, Dec. 17, 1981); Una cantata perdida for Soprano, Double Bass, and Percussion (N.Y., Nov. 1981); Viatges i flors for Soprano, Reciter, Chorus, and Orch. (1981–84; Brussels, Oct. 10,1985); El manantial for Soprano, Flute, Celesta, Harp, Piano, and 2 Violins (Valladolid, Nov. 12, 1982); Malinche for Soprano, Percussion, and Tape (1983; Naples, Sept. 1984; also for Soprano and Piano, Rome, April 25, 1985); Serenata for Chorus and Band (1984–85; Lille, Dec. 1990); Zu Strassburg auf der Schanz for Baritone and Orch. (Radio France, Paris, Feb. 28, 1985); Tarde de poetas for Soprano, Baritone, Chorus, and Chamber Orch. (1985–86); Comum epilogfor Men’s Chorus and Orch. (1988; Paris, May 1989); Antigua fe for Soprano, Men’s Chorus, and Orch. (1990; Madrid, Jan. 28,1992); Ricercare recordare for Reciter, Chorus, and Chamber Ensemble (1990); De la América pretérita for Soprano and Orch. (1991); Variaciones de Léon for 2 Sopranos, Contralto, Tenor, Baritone, and Bass (1992–93; Royaumont, Sept. 11,1993); Romancero for 12 Voices (1994; Venice, Aug. 1995); Relâmpagos for Tenor and Orch. (Madrid, Nov. 1996); Puntos de amor for Soprano and Clarinet (Strasbourg, Oct. 1999); Tre frammenti sacri for Chorus, 2 Trumpets, and Trombone (Milan, Dec. 1999). electroacoustic:We (1969–70; Paris, Oct. 1970; 2^ndversion, 1984; Madrid, Jan. 28,1985); Tamano natural (Paris, Oct. 1970); Soledad interrumpida (Buenos Aires, July 20,1971); Chamán (1975–76; Ottawa, Feb. 1, 1976).

Bibliography

T. Marco, L.d.P. (Madrid, 1976); J. Garcia del Busto, L.d. P. (Madrid, 1979); idem, Escritos sobre L.d. P (Madrid, 1987); P. De Voider, Encuentros con L.d. P.. (Madrid, 1998).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire