Luis Robles
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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.

luisrobles.JPG (7802 bytes)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.

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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.

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.

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.

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.

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.

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.


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The worklist of Luis Robles comprises about twenty creations. Most have been premiered and performed in different Spanish and European festivals, and several of them recorded and broadcast by Spain's Radio Nacional.   Below is the worklist, grouped by families, and beginning by the most recent works. An acronym indicates those who have not yet been released (S) and those that have been made with Designing Music technology (D).


  • Vacilaciones sobre un Tema Fragmentado  (2003)
  • Arroró  (2000)
  • Suite para un Espacio del Norte (1993)


    Chamber Music:

  • Tecno-Rondó en torno al Nombre de Bach  (2003) - Oboe, horn, piano
  • Oda a una Estrella  (2000) - Wind Quintet
  • In Schütz Memoriam  (2000) - Flute, violin, violoncello, guitar
  • Cuarteto Nº1  (1997) - String Quartet


    Vocal Music:

  • Xrima Eleison  (2009) - Mixed Choir, electroacoustics (S) (D)
  • Dos canciones de sombras  (2002) - Voice and piano, with text from M.Altolaguirre y Miguel Hernández
  • Libertad de estar preso  (2001) - Mixed Choir, with text from L. Cernuda


    Orchestral Music:

  • Casación para un Momento Pretérito  (2001) - String Orchestra
  • Masaya  (2000) - Symphony Orchestra (3) (S)
  • Variaciones sobre una Villanesca de Francisco Guerrero  (1997) - Symphony Orchestra (2)


    Electroacoustics with or without live instruments:

  • M-Obelisk  (2011) - Piccolo Clarinet, electroacoustics (S)
  • Tres Recitativos Andalusíes  (2010) - Bowed Psaltery, electroacoustics (D)
  • Syrinx Party (2007) - Flute, electroacoustics (D)
  • Magreb (2002) - Electroacoustics
  • Aldarrika (1998) - Electroacoustics
  • Niños (1997) - Electroacoustics