|
The stage name
"Luis Robles" is an abbreviation used by Luis Rodríguez
Robles. For further information about his activity, you can apply the following
Google search
Luis Robles is a spanish composer, and teacher of harmony, analysis
and composition. He studied Piano, Composition, Orchestra Conducting and
Musical Education at the
Conservatorio Superior de Madrid,
under teachers such as Valentín Ruíz,
Enrique Blanco,
Antón G. Abril
and Zulema de la Cruz.
 He also trained in acoustic, electronic and computer technology, taking
an Engineering degree at the
Universidad Politécnica de Madrid.
He was a
founding member of the Grupo de Jóvenes Compositores Talea (Talea Group of
Young Composers), which operated for 10 years, organising concerts and
premières, in collaboration with some of the main Spanish composers, such as
Zulema de la Cruz,
Luis de Pablo,
Antón G. Abril or
José Luis Turina.
His works have been performed in Spain and abroad and have been broadcast
by Spain's Radio Nacional. For the last 10 years he has taught at Madrid's
Conservatorio
Arturo Soria.
His current compositional work is developed in different
areas. First, the purely personal. Second, the comercial creation through
the Private
Harmonies service. And third, the research based on algorithmic
composition and the methodology Designing Music.
On this methodology he wrote his doctoral thesis at the Musicology department
in
Universidad Complutense de Madrid, makes a wide informative work and
provides expertise in the field as a member of
Algorithmic Music Lab.
Below are recordings of some of his works,
followed by the worklist of his creations. Of these recordings, Syrinx Party
and Hammam were
composed using Designing Music. |
Recordings
These recordings
correspond to works that have been registered with the SGAE (Spanish
Society of Authors, Composers and Publishers), and are protected by the
law in force regarding copyright. They may be listened to on-line, but
should not be used for other purposes without the express consent from
the author.
|
|
| |
|
- Syrinx Party, for flute
and electroacoustic sounds (2007). Performer: Yurena Duque.
(6'50)
This is a special piece for me, as it is my first
piece composed with Designing Music technology, opening
up a new creative stage in my production. One the one
hand, it is a homage to Syrinx, Debussy’s well-known
piece for flute, from which I take melodic quotes and
borrow the flute atmosphere. "Party" refers to the
superposition of techno rhythms within the piece, in
search of an integrating and post-modern aesthetics that
I already experimented with in prior works, such as the
Techno-Rondo around the Name of Bach. In Syrinx Party,
all contents have been generated by the DM-D program
applying the Designing Music technology, except the
percussion and the transverse flute, which was
handwritten by me in the "traditional way".
|
|
|
-
Vacilaciones sobre un
tema fragmentado, for piano (2003).
Performer: María Zisi.
(8'25)
I feel that this is one of my most mature and elaborate
pieces. It was composed from a theme "fragmented" into 3
cells, which are the first exposed by the piano,
separated by pauses. The entire piece is derived from
these cells, intertwining them. With distant echoes of "variations"
the word vacilaciones ("vacillations") gives sense to
the whole piece. Besides “to waver” or “to hesitate” the
verb vacilar in Spanish can also mean “to pull someone’s
leg”. Thus, the ultimate aim of this piece is to "vacillate"
with the public, in both of the senses of the word,
through moments of silence placed strategically within
moments of tension. To reinforce that "vacillation", the
piece can be interpreted accompanying it with gestures
and recitals made by the pianist him or herself,
according to indications on the score. This version,
without gestures, is performed by Greek pianist Maria
Zisi.
|
|
|
- Libertad de estar preso,
for mixed choir a cappella (2001). Performed by: Capilla Renacentista.
(5'28)
This is a work composed for Choral Composition
Competition "Ciudad de Getafe II" where it won first prize. The
competition rules stipulated that the theme of the text had to
be freedom. Therefore, I chose the beautiful poem of the same
title by Luis Cernuda, which addresses the issue from a
distinctly lyrical and original perspective. In this version,
recorded in 2012, Capilla Renacentista led by Amaya Añúa makes a
masterful interpretation of the piece, picking and highlighting
the deep feeling that both music and text contain.
|
|
|
- Oda a una
Estrella, for wind quintet (2000). Performed by:
Ibert Cámara.
(5'04)
The piece is a homage to the Talea Group of Young
Composers. The title is a reference to Madrid's "Café
Star", a place where the group met regularly for 10
years. For me it is an experimental piece regarding the
formation of a wind quintet, a format difficult to
handle technically due to the difference in timbre of
its instruments, in which I play with the alternation of
very lyrical moments, with other Stravinsky-inspired
moments, in allusion to the ideal of ode and youth,
respectively.
|
|
|
- Tres Recitativos Andalusíes, Hamam, for
violoncello
and electroacoustic sounds (2010). Performer: Juan Enrique Sáinz.
(5'33)
The work consists of three movements (Jerez, Jma
El'Fnaa and Hamam) and as a whole is a nostalgic ode to lost
Andalusian heritage, which something remains in Andalusia and,
of course, in northern Africa. Originally written for Bowed
Psaltery and Electroacoustics, this is a second version for
cello, dedicated to cellist Juan Enrique Sainz, who has taken it
over and plays it with deep expertise and sensitivity. It was
composed between Madrid and Marrakech, using Designing Music
technology for all electroacoustic part. Here you can listen 3rd
movement, Hammam, which shows the magical atmosphere of a
Moroccan hammam, and the suggestive sound inside it.
|
|
|
- Dos canciones de Sombras
(2001). Performed by: Claudia Yepes (voice) and Martín M.
Acebedo (piano).
1 -Copa de Luz
(3'04)
( Based
on a M. Altolaguirre poem )
2 -Tres Heridas
(2'49)
( Based
on a M. Hernández poem )
These two songs were
written in difficult period of my life. This is reflected in
the chosen texts and to a great extent in the musical
content that accompanies them. However, optimism, which I am
a staunch defender of, seems to break its way through at the
end of the second song, with the last word. I hang on to
that word, and take pleasure in it, wrapping it in warm
sounds. Technically, my reference points, especially with
regard to that second song, are the harmonic techniques from
the early 17th century and the songs by the spanish composer
(Falla's pupil) Rodolfo Halffer.
|
|
|
