updated 1 February 2022
© Begoña Rivas

Luis de Pablo

Spanish composer born 28 January 1930 in Bilbao, died 10 October 2021 in Madrid.

Luis de Pablo, born in 1930 in Bilbao, Spain, began his musical studies at a young age but went on to study law at the Complutense University of Madrid, graduating in 1952. Interested in modern forms of art and with a musical background, de Pablo completed his training through a personal and intense study of the major scores of the twentieth century while practicing as a lawyer at Iberia, the Spanish airline. He also taught himself composition. De Pablo abandoned law at the end of the 1950s to pursue music. In 1958, he founded Grupo Nueva Música with Ramón Barcé. Cristóbal Halffter also played in this band.

In the 1960s, while still composing, de Pablo led the promotion of modern music in his country. He spoke at conferences, published analyses of the music of Anton Webern, and translated Hans Heinz Stuckenschmidt’s biography of Arnold Schoenberg as well as the major writings of Webern, which were unpublished in Spanish. He also founded the Tiempo y Música concerts in 1959, where Le Marteau sans maître and the three piano sonatas of Pierre Boulez, as well as Zeitmasse by Karlheinz Stockhausen, premiered in Spain. He created the first studio for electronic music in Spain with the group Alea in 1965. He also organized concerts featuring young composers from 1960 to 1963, as well as the First Madrid Biennial of Contemporary Music in 1964.

Through his work and his music, de Pablo confronted the cultural isolation Spain was plunged into by Francoism. He introduced serialism to a country where music had been frozen in the folk aesthetics of Felipe Pedrell and Manuel de Falla since the civil war. De Pablo introduced young Spanish music to the international scene, including in the concert halls of Darmstadt, Donaueschingen, and Paris.

De Pablo went to Darmstadt at the beginning of the 1960s, where he met Boulez, Stockhausen, Bruno Maderna, and György Ligeti. He then went to Paris to attend the lectures of Max Deutsch, a former student of Schoenberg. De Pablo’s music reflects the tendencies of a whole generation trying to renew serialism through aleatory forms.

He organized the “Pamplona Encounters” in 1972, a music, theatre, cinema, and visual arts festival. This was the apotheosis of de Pablo’s work as an advocate of Art Nouveau in Spain. However, this event provoked his critics. Francoists accused de Pablo of giving too much importance to “left-wing art,” while Basque separatists in Euskadi Ta Askatasuna (ETA) claimed he was a supporter of the regime. ETA planted two bombs at the beginning of the festival and abducted one of the festival’s patrons a year later. The event was cancelled and de Pablo was forced into exile, first in the United States, where he taught at the University of Buffalo, and then in Canada, where he was Professor at the University of Ottawa and Université de Montreal. Only after Franco’s death did he return to Spain.

His work as conference speaker, concert organizer, adviser,1 teacher, and member of the jury in numerous international competitions and his involvement with various academies2 have not stopped him from producing an impressive body of work, with more than 210 opuses. Rewarded with countless prizes and awards,3 international commissions, and monographic concerts, de Pablo is regarded by many as part of the vanguard of modern Spanish music.

His music is founded on respect toward all art forms. However removed they may be from one another, de Pablo excels in revealing their similarities while retaining their differences. Among his pieces, we find homages to Tomás Luis de Victoria, Claude Debussy, Ludwig van Beethoven, Schoenberg, Federico Mompou, Iranian music, Japanese Noh music, the Melanesian flute, the Epigrams of Martial, and the texts of Vicente Aleixandre, Fernando Pessoa, Solomon ibn Gabirol, Luis de Góngora, Giacomo Leopardi, and Aztec writers. De Pablo’s canon is the work of an explorer studying the world’s cultures.

Inventive, fantastical, poetic, he was a leader of the modern Spanish school and one of the most striking personalities in music. To cite de Pablo himself, “It seems most important to me not to stop being a connoisseur; I freely confess that I would rather be considered a hedonist than an analyst.”

1. Director of the Lille Festival (1982), Director for the diffusion of contemporary music at the Spanish Ministry of Culture (1983), member of the committee for the Opéra-Bastille project (1984), etc. ↩
2. Academies of Granada, San Fernando in Madrid, Belgium, Santa Cecilia in Rome, Jakiunde: Academy of Sciences, Arts and Letters. ↩
3. Among them, the Ordre des Arts et des Lettres, Gold Medal of Merit in the Fine Arts, Spain’s Premio Nacional de Música, doctor honoris causa from the Complutense University of Madrid, Prix Arthur Honegger from the Fondation de France, Music Composition Prize from the Prince Pierre of Monaco Foundation, Guerrero Foundation Music Prize, Tomás Luis de Victoria Award. ↩


© Ircam-Centre Pompidou, 2007

Sources

D’après José García del Busto

By Daniel Lorenzo

Luis de Pablo’s body of work is characterized by its heterogeneity: each of his compositions poses a new problem that induced him to branch out into new areas of study. He sometimes continued to explore these problems in his next work or much later, and often from different, or even opposing, angles. This approach is perhaps why he composed in a range of artistic forms and genres: orchestral and chamber music, choral music, electroacoustic music, opera, musical theater, collage, etc. It is not easy to summarize his multifaceted and varied output. But it is possible to discern several phases in de Pablo’s creative career, each having certain technical preoccupations or artistic interrogations. These stages overlap and should not be understood as discrete. Evolution did not mean abandoning the techniques he had assimilated; it meant continually enriching his compositional language.

Beginnings

In the 1950s, de Pablo began to look for a new musical language that would set him apart from his influences. Like Cristóbal Halffter, Ramón Barce, Carmelo Bernaola, and other Spanish composers belonging to the Generación del 51, he was faced with the pressing problem of how to regenerate his country’s music. Their aim was to overcome the hyper-nationalist aesthetic that had driven the musical and cultural isolation of Francoist Spain, and so incorporate the latest developments from the European avant-garde. In the absence of sufficiently influential teachers, this generation was forced to reconsider the significant Spanish figures from before the Civil War. They also looked abroad.

Aesthetic diversity infiltrated de Pablo’s production in the 1950s. He drew references from the works of Manuel de Falla (specifically his last period), Béla Bartók, and Igor Stravinsky, adopting techniques that were firmly established in Europe but still unknown in Spain. He drew on the innovations of the Second Viennese School, as well as Olivier Messiaen’s Techniques of My Musical Language, using nonretrogradable rhythms and transforming rhythmic values by addition (“values added to or subtracted from a given duration”). Although he later studied strict dodecaphony in Paris with Max Deutsch, he never used it. He found it alien to his own sensibilities, and he criticized its intervallic monotony and lack of contrast. He did not, therefore, classify intervals in a strict series but considered them as “groups of sounds.” Coral (1954, revised 1958) and Sinfonías (1954-1966) are his only serially inspired compositions. He eventually withdrew most of these works from his catalog, keeping only “those that in some way contributed something personal.” At the end of the 1950s, with Comentarios a dos textos de Gerardo Diego (1956) and the definitive version of Invenciones (1959-1960), “we begin to catch a glimpse of the music I wanted to make, and in which I really recognize myself,” he said.1

De Pablo’s Móvil I (1957) bears similarities to Klavierstück XI by Karlheinz Stockhausen, Troisème sonate by Pierre Boulez, Mobile by Henri Pousseur, and Aleatorio by Franco Evangelisti — all of which date from 1957 and 1958. The influence of these composers prompted him to explore form and chance — or rather, in his preferred wording, “controlled randomness,” which he understood as the more disciplined, European version of John Cage’s radical use of chance. At this moment, he was able to abandon the series as the central idea of composition:

Until then, the series had been for me — and for many others — the beginning of a new sound syntax, a means of neutralizing harmony, of experimenting with an order that was both more rigorous and richer. But after this asceticism, I was thirsty for a more flexible, freer, fresher, truer language, unfolding the organization of sound from ever-new angles.2

The 1960s: From density to rediscovering the interval

During the 1960s, de Pablo continued to study form. He focused on two fundamental and interconnected aspects. The first of these was sonic density, expressed in the interaction of lines, points, and clouds — a phenomenon occupying in parallel György Ligeti, Krzysztof Penderecki, and Iannis Xenakis. Taking into account quantity, quality (e.g., duration, register, form of attack, dynamics, timbre, etc.), and distribution (e.g., in multi-speed planes of emission, forming complex groups, etc.), he transformed sound configurations through processes of growth, decay, and stasis. He controlled the interaction, juxtaposition, and superimposition of these textures either within a defined unit of time (a “measured” numerical ordering of the material) or imprecisely (“an unmeasured ordering of the material”).

The second aspect was a continued exploration of the role of chance.

I have introduced chance into my compositions, neither out of a spirit of ease, nor out of an attitude of resignation, but on the contrary to reinvigorate my work, to give it a new dimension of life and expression. For there is no risk of disorder or confusion as long as a certain number of essential components remain fixed … For me, randomness is nothing more than an effective, topical and perhaps temporary means of destroying the traditional asphyxiating relationship between artist and audience; a way of questioning the very function of creation.3

In aleatoric music, his main contribution to the question of form is his concept of módulos. These are microstructural elements that, when combined, determine the macrostructure of the work. They can be organized according to criteria derived from a numerical idea, as in Polar (1961), or according to malleable, changing suggestions, as in Iniciativas (1965-1966).

He cultivated open forms along two basic axes. In the first, he combined a free microstructure and fixed macrostructure, as, for example, in Ejercicio segundo (Módulos IV) and Imaginario II. In the second, he did the opposite, using a fixed microstructure with variable macrostructure, through which he strung together preestablished microstructural elements in a variety of modalities.4 But to combine completely indeterminate microstructures and macrostructures could not, for him, constitute a work in and of itself.

At first, de Pablo’s relationship with the interval was to “war against it in favor of timbre”5 (e.g., in Iniciativas, Módulos III, and others):

My first idea, at that time, was to erase, as far as possible, the existence of the interval to better emphasize timbre as a formal factor. It’s a goal that can be seen as part of a fairly collective phenomenon at the time.6

However, his valuing of the interval began to change, leading him to individualize voices by endowing intervals with functional meanings, which led to their playing an increasingly important role in his compositional processes.

Borrowing and musical theater

Over 1967 to 1968, de Pablo spent a year in Berlin, during which he began to move in new directions. Through his work on controlling sonic material to give it formal freedom, he became more interested in the treatment of pitches (through such elements as register, dynamics, duration, and timbre) than in the pitches themselves.

By an inexorable logic… I could not be the “designer” of pitches or their arranger. Instead, I must limit myself to complementing the fields in which they intervene. This is how my music first integrated nonmusical elements (my first audio-visual experiments date from those years), following from music I hadn’t written.7

He started using quotations (of real or imagined sources), imitating other styles, and incorporating more and more small components of music from the past. His compositions from these years are thus a kind of meeting place for elements from disparate origins, which he tried to unify in a novel way.

This gathering of elements is evident in many works from the late 1960s and early 1970s, including Heterogéneo (1968), which is an enormous collage of diverse quotations. In Quasi una fantasia (1969), a string sextet plays extracts from Arnold Schoenberg’s Transfigured Night. Paráfrasis (1968) is based on three motets by Tomás Luis de Victoria. We (1969-1970, revised 1984) is an electronic collage. Drunken Elephants I-IV (1972-1973), also based on a motet by Victoria, consists of four large-scale frescoes. A Beethoven bagatelle forms the basis of Vielleicht (1973), while Affettuoso (1973) includes a quotation from Beethoven’s Hammerklavier sonata. Finally, Very Gentle (1973-1974) alludes to the styles of Scarlatti and Antonio Soler.

De Pablo gradually abandoned aleatoric components, moving to an increasingly fixed style. However, a trace of the módulos principle remained in the recurring microstructural elements that he combined in constantly changing ways.

As de Pablo states in the above quotation, he began to integrate visual, or even scenic, elements into his music, producing an idiosyncratic musical theater different from that of his contemporaries Mauricio Kagel or Sylvano Bussotti. Responding to his desire to “create music that is resolutely committed” are works such as Protocolo (1968) and Por diversos motivos (1969). According to de Pablo, “I bring in texts and images to give their meaning to the music, while the music simultaneously gives its meaning to the texts and images. Everything tightly fits together.”8 Between 1973 and 1974, he wrote Masque, Berceuse, Sólo un paso, and finally Very gentle, after which he changed his approach.

Electroacoustic music, whether musique concrète or musique mixte, was also a strong interest until 1974. These works include We, Tamaño natural (1970), Soledad interrumpida (1971), and Je mange, tu manges (1972). De Pablo composed Soledad interrumpida and Historia natural (1972) to accompany José Luis Alexanco’s visual work, reflecting a continued openness to collaboration with other art forms. These works reveal him applying his previous experiences, while also seeking “a more spontaneous, more direct use of musical material.”9

Years in North America: Harmonic coloration

A three-year stay in North America, until Francisco Franco’s death in 1975, profoundly influenced de Pablo’s composing. Inspired by American landscapes, he composed large-scale works in the form of long “beaches,” including Portrait imaginé (1974-1975, revised 1998) and Zurezko Olerkia (1975). With these largely static works of considerable length (fifty-one and sixty minutes, respectively), he demonstrated a new sensitivity to temporality.

In addition to the use of theatrical or gestural material, another phenomenon appears in his music: the return of consonant intervals. Seeking renewal but unwilling to compose in the tradition of the Darmstadt School, he turned to consonant aggregates without tonal function, as in Yo lo vi (1970). He explained: “An A-flat major chord recurs periodically, functioning like the pilasters of a bridge, between which there is great ‘bedlam’ (untempered intervals, shouts, glissandi, etc.). This chord provides structural landmarks, lending coherence to the work.”10

Tonal chords also appear episodically in Oroitaldi (1971), Visto de cerca (1974), Zurezko Olerkia (1975), and Al son que tocan (1974-1975, revised in 2000), more prominently in Portrait imaginé (1974-1975), Chamán (1975-1976), and Credo (1976), and extensively in Tinieblas del agua (1978), whose premiere was a near-scandal. Here, the tonal chords serve as reference points in a long and complex musical discourse. Besides functioning as markers within a dense development of dissonances, they also provide a simple punctual or sustained coloration (such as in Bajo el sol, 1977). In this way, they are like Debussy’s notion of “rhythmic colors”11 — an idea to which de Pablo returned often. He thus placed harmony at the service of color. Moving forward, he regularly used consonant aggregates without tonal function.

Kiu and Tarde de poetas: Technical emancipation

During the 1980s, de Pablo’s works from Madrid are characterized by the use of the voice, marking what José Luis García del Busto calls his “lyrical stage.”12 After a long period of abstention, he had started to reintegrate the voice into his works in the late 1960s, particularly in musical theater and choral music, although he did this without using text. This development led to a more mature dramatic quality in his music, which at times even became operatic.

His use of voice was made possible by his gradual flattening of the textures, leading to their dense concentration. “Following the research begun with Protocolo (1968),” reads a concert program from 1978, “the line occupies a dominant place in Tinieblas del agua (1978).”13 This phenomenon reaches its zenith with the Second Piano Concerto (1979-1980) and his first opera, Kiu (1979-1982). In later works — Senderos del aire (1987), Figura en el mar (1989), Antigua fe (1990), and Las orillas (1990) — horizontal thinking became predominant.

In his lyrical decade, three vocal works stand out. Kiu (1979-1982) is a milestone in his personal evolution, as well as in Spanish music history: beyond zarzuela, Spain had virtually no operatic tradition. El viajero indiscreto (1984-1988) and the concertante fresco Tarde de poetas (1985-1986) exemplify the complete artistic freedom he had by this point achieved.

Kiu is also where de Pablo developed a new compositional process. Rather than being associated with a particular leitmotif, the characters are represented by a pitch, around which intervals are built (primarily thirds and fifths), though stripped of their functional power. From a given note, de Pablo would construct a “vertical or horizontal distribution of intervals” rather than pitches: major thirds above and below the note, to which he superimposed ad lib, “without limit of notes or directions,” other thirds a fifth apart. He would then freely combine the resulting pitches (i.e., not necessarily in their original arrangement) following his musical intuition. For example, above C he could write E, B, D-sharp, A-sharp, etc., and below: A-flat, D-flat/C-sharp, B-double-flat/A-flat, etc. “There can be one section essentially composed of disjoint intervals,” he adds, “another of conjoined intervals, some fast, some slow….”14 In this process all transpositions are allowed, with no preestablished order of appearance. He thus created a functionality “lacking the implacability of functional harmony, yet able to act in the most operative sense on the distribution of intervals.”15 This verticalization of sounds is audible, so listeners become familiar with the superimpositions used, as normally happens within a given harmonic environment. Although this technique relies on intervals, what motivated de Pablo was “the emergent colors, not their tensions.”16 The result was a nonrigid, flexible system. Its “processual modulation” allowed him to use a whole range of predominantly consonant intervals, “without falling into the logic, however remote, of traditional harmony.”17

The effective reappropriation of consonant intervals is, in the final analysis, a problem that preoccupied de Pablo since his early days in Darmstadt. After struggling against the interval in the 1960s, and then going through a lengthy intermediate stage in which he used triadic chords as pillars (such as in Yo lo vi), he had found a new way to use consonance. This intervallic method formed the basis of a new, distinctive musical language, which he continued to employ for the rest of his life.

Maturity: Establishing a language and recovering traditional “formations”

By the 1990s, de Pablo had reached the artistic maturity needed to write in a wide variety of genres. These included the large orchestral works Las orillas (1990), Vendaval (1994-1995), Tréboles (1995-1996), Chiave di basso (2003), Casi un espejo (2004), Natura (2005-2006), Tres piezas para orquesta (2014), and Ostinato (2017). He also composed pieces for chamber orchestra, concertos for various solo instruments (two- and four-handed piano, oboe, violin, guitar, cello, percussion, harp, organ, flute, accordion, viola, etc.), and ensemble and chamber music (e.g., piano trios, string quartets, quintets, sextets).

A return to classical “formations” characterized de Pablo’s late output, beginning in 1978-1980 with the writing of two piano concertos:

Having achieved a certain technical mastery thanks to a series of tools I had created that are adapted to my artistic requirements, I wanted to put them to the test in classical genres and formations. (I use the word “formations” since this has nothing to do with form) … I wanted to test whether I was capable of resurrecting all this terminology with all it implies, of using this nomenclature in other ways.18

He also applied his experience to less common instruments and sound combinations, such as the saxophone quartet and children’s voices.

In the 1990s, De Pablo’s reduced his selected tools of expression. But though the means he used became gradually more restricted, he deployed them with virtuosic skill. As the following list of his works shows, the voice continued to occupy an essential place in his late output:

Enamored of the voice and its expressive power, as well as of literature, Spanish and otherwise, de Pablo became focused on uniting music and text. Though his compositions are surprisingly varied in their use of different languages, Spanish is most common because of its malleability and de Pablo’s own familiarity with it as his mother tongue. He also prioritized Spanish as a matter of principle: it seemed important to him to incorporate it into learned music because it had been

both very little and badly used in the nineteenth century, the period of the great flowering of classical music. In Spain, a country that has kept its folklore alive for a very long time, we only have one form derived from opera, the zarzuela. Spanish folk music was alive at least until the Civil War, producing a particular symbiosis of language, music, and folklore.19

Among the Spanish composers of his generation, de Pablo was one of those who wrote most frequently for the voice, using texts and poems by Vicente Molina Foix, Saint John of the Cross, Luis de Góngora, Rafael de la Vega, Antonio Machado, José Miguel Ullán, Juan Gil-Albert and Jorge Guillén, to name but a few. He also was one of the few to try to endow Spanish with a new kind of sonority.

Conclusion

The many diverse paths de Pablo took in his “zigzagging trajectory”20 were the consequence of his curious, whimsical, dynamic personality and strong need for independence. Although as a young composer he was keen to join the European avant-garde, he never fully embraced serialism. Instead, he sought out a language of his own, which in the 1960s involved exploring density and open forms. And though his quotation-based works that followed bear similarities to works by contemporary European composers who integrated borrowing or collage (such as Bernd Alois Zimmermann, Luciano Berio, Stockhausen, and Kagel), de Pablo was expanding on compositional aspects from early in his career rather than merely following what was then fashionable.

De Pablo incorporated theater into his music partly in response to his political and social commitments. However, he was also sought openness and renewal through extra-musical elements. Once his language had developed to include texts, such aspirations naturally led him to explore opera.

Electronics were another means by which he attempted to decompartmentalize language. Though he later abandoned their use, his work with them palpably enriched his instrumental language. Ultimately, he welcomed any form of stimulus, with literature, the visual arts, and non-European music as sources of inspiration. He sought to establish, in a profound way, “a permanent dialogue with different traditions and cultures.”21

As was the case for many of his contemporaries, de Pablo’s trajectory traces a multi-leveled convex line. Instead of returning to a starting point, to neoclassicism, to simplification, and rather than shutting down exploration, he expanded the musical possibilities of sound.

He opened up musical language to a more consonant universe made up of intervals and consonant aggregates, while avoiding tonality. He was not motivated by nostalgia or a late-onset gravitation toward ease. On close examination, one can see that consonance had been present in his work long before, for example in Glosa from 1961. His approach converges with that of other composers, such as Tōru Takemitsu and André Boucourechliev, who also reincorporated consonance into their own harmonic languages. A parallel phenomenon accompanied this return to consonance: the preservation of richness of sound, without the aggression and vehemence of the 1950s and 1960s, when the young de Pablo had to affirm his identity within an often unreceptive milieu.

Likewise, his reappropriation of traditional genres, forms, and forces (such as opera, large multi-movement orchestral works, the string quartet, and the piano trio) was not an “act of reconciliation and public repentance.”22 It instead reflected his attempt to find new solutions within conventional frameworks. He was motivated by a concern to fit into a historical musical lineage, a desire to join the tradition while enriching it.

In the end, de Pablo’s work embodies a paradox. While he asserted his personal freedom regarding genre, language, and, more generally, anything that might limit his creativity, he simultaneously aimed to integrate his music into widely understood notions of a musical tradition. His compositions — poetic, whimsical, ebullient, prolific, even anarchic — navigate between a relentless drive for innovation and a wish to be part of a historical tradition. Although he was a Spanish composer who came late to the ranks of the European avant-garde, de Pablo was nevertheless a pioneer in many areas. His insistence on consonance, a lyricism compatible with experimentation, and the expansion of opera foretold the evolution of many of his peers.

Translated from the French by Melvin Backstrom

1. Luis DE PABLO, A contratiempo, Madrid, Círculo de Bellas Artes, 2009, p. 37. ↩

2. Comments by Luis de Pablo in Maurice FLEURET, “Il faut démolir la partition,” in Le Nouvel Observateur, 24 April 1968. ↩

3. Ibid. ↩

4. On this subject, see DE PABLO’S article “Toward an Aesthetic of Contemporary Music” (Approche d’une esthétique de la musique contemporaine, 1968). It is a first-rate source for understanding the issues in his music from the 1960s, as well as the diversity of his compositional strategies. ↩

5. Personal communication with Luis de Pablo, Madrid, June 2012. ↩

6. Interviews by Bruno SERROU, Grands entretiens: Luis de Pablo (“Musique Mémoires” series, Institut National de l’Audiovisuel, 2001), chapter 73: “Techniques compositionnelles.” ↩

7. Luis DE PABLO, “El folklore vasco como material de composición,” in Cuadernos de Sección: Folklore (Jornadas de Folklore, 18 al 23 de Mayo de 1981), Donostia-San Sebastián, Eusko Ikaskuntza, 1983, p. 269. ↩

8. Press release, dated March 18 to 23 (source unknown), in the CDMC Paris documentary file “Por diversos motivos” (Cote DD CDMC13321). ↩

9. Ibid. ↩

10. Personal communication with Luis de Pablo, Madrid, June 2012. ↩

11. Letters from Claude Debussy to His Editor, edited by Jacques Durand, Paris, Durand, 1927, letter dated 3 September 1907 from Pourville, p. 55. ↩

12. José Luis GARCIA DEL BUSTO, “Crónica de vida y obra,” in Piet de Volder, Encuentros con Luis de Pablo: Ensayos y entrevistas, Madrid, Fundación Autor, 1998, p. 32. ↩

13. Extract from the concert program for the Seventh Rencontres Internationales de Musique Contemporaine, Metz, 13 November 1978. ↩

14. Personal communication with Luis de Pablo, Madrid, July 2011. ↩

15. Ibid. ↩

16. Personal communication with Luis de Pablo, Madrid, June 2012. ↩

17. Ibid. ↩

18. Ibid. ↩

19. Personal communication with Luis de Pablo, Madrid, July 2011. ↩

20. José Miguel LÓPEZ, “Luis de Pablo: Entrevista,” in Ritmo, XLV, no. 455, October 1975, p. 5. ↩

21. DE VOLDER, Encuentros con Luis de Pablo, p. 57. ↩

22. DE PABLO, A contratiempo, pp. 54-55. ↩

© Ircam-Centre Pompidou, 2022

  • Solo (excluding voice)
  • Chamber music
    • Móvil I for two pianos (1957), 6 mn, Tonos
    • Coral wind septet (1954-1958), 7 mn, Modern
    • Cesuras for six instruments (1963), 12 mn, Tonos
    • Recíproco for flute, percussion and piano (1963), 12 mn, Tonos
    • Módulos IV for string quartet (1965), 10 mn, Salabert
    • Imaginario I for harpsichord and three percussions (1967), 7 mn, Salabert
    • Promenade sur un corps for solo flute and a percussionist ad libitum (1971), 8 mn, Salabert
    • elec Historia natural for two organs, percussion and magnetic tape (1972), Salabert
    • Pardon for clarinet and trombone (1972), 2 mn, Salabert [program note]
    • Soirée for clarinet and violin (1972), 6 mn, Salabert
    • Masque live music for flute, clarinet, piano and percussion (1973), 20 mn, Salabert
    • Vielleicht for six percussionists (1973), 17 mn, Suvini Zerboni
    • Trio de cuerda for violin, viola and cello (1978), 19 mn, Suvini Zerboni
    • Dibujos for flute, clarinet, violin, and cello (1980-1979), 13 mn, Suvini Zerboni
    • Saturno for two percussionists (1983), 14 mn, Suvini Zerboni
    • Cuatro fragmentos de «Kiu» version for violin and piano (1984), 19 mn, Suvini Zerboni
    • J.H. for clarinet and cello (1983-1984), 11 mn, Suvini Zerboni
    • Fragmento for string quartet (1985), 15 mn, Suvini Zerboni [program note]
    • Cuatro fragmentos de «Kiu» flutes and piano version (1985-1986), 19 mn, Suvini Zerboni
    • Caligrafías cycle for three instruments (1987-1988), 12 mn, Suvini Zerboni
    • Federico Mompou «in memoriam» for violin, cello and piano (1987-1988), 4 mn, Suvini Zerboni
    • Amable sombra for two pianos (1989), 17 mn, Suvini Zerboni
    • Compostela for violin and cello (1989), 17 mn, Suvini Zerboni
    • Fiesta for six percussionists (1989), 20 mn, Suvini Zerboni
    • Metáforas for piano and string quartet (1989), 22 mn, Suvini Zerboni
    • Otros senderos for two pianos (1989), 30 mn, Suvini Zerboni
    • Ornamento for piccolo and celesta (1990), 3 mn, Suvini Zerboni
    • Sexteto (Paráfrasis e interludio) for string sextet (1990), 26 mn, Suvini Zerboni
    • Parodia for string quartet (1992), 2 mn, Suvini Zerboni
    • Ritornello for eight cellos (1992), 12 mn, Suvini Zerboni
    • Umori for five instruments (1992), 16 mn, Suvini Zerboni
    • Caligrafia serena for string quartet (1993), 18 mn, Suvini Zerboni
    • Trío for piano, violin and cello (1993), 17 mn, Suvini Zerboni
    • Ex voto for violin and viola (1995), 12 mn, Suvini Zerboni
    • Flessuoso (1995), 12 mn, Suvini Zerboni
    • Monos y liebres for bass clarinet and marimba (1994-1995), 12 mn, Suvini Zerboni
    • Ouverture à la française for flute and saxophone (1995), 12 mn, Suvini Zerboni
    • Un día tan solo for a flautist and a clarinetist (1997), 6 mn, Suvini Zerboni
    • Corola for four saxophones, piano and timpani (1998), 13 mn, Suvini Zerboni
    • Quintetto for clarinet and string quartet (1998), 20 mn, Suvini Zerboni
    • Trimalchio for bassoon/contrabassoon and horn (1997-1998), 13 mn, Suvini Zerboni
    • Epístola al transeúnte for flute, clarinet, violin, viola, cello and piano (2000), 20 mn, Suvini Zerboni
    • Fandango for saxophone quartet (2003), 2 mn 20 s, Suvini Zerboni
    • Rumia for saxophone quartet (2003), 14 mn, Suvini Zerboni
    • Voluntad de flores for string quartet (2004), 5 mn 30 s, Suvini Zerboni
    • Segundo trío for violin, cello and piano (2005), 30 mn, Suvini Zerboni
    • Música para Mario for six instruments (2009), 8 mn
    • Un diálogo cordial for two clarinets in B flat (2010), 3 mn, Suvini Zerboni
    • Nublo two pieces for two pianos (2011-2012), 17 mn, Suvini Zerboni
    • Memoria Fourth string quartet (2012-2013), 21 mn 30 s, Suvini Zerboni
    • Pentimento for six instruments (2013), 10 mn about , Suvini Zerboni
    • Duo for two clarinets in B flat (2014), 6 mn 30 s about , Suvini Zerboni
    • Sexteto “Nubilus” for flute, clarinet, percussion, piano, violin and cello (2014), 8 mn about , Suvini Zerboni
    • Fantasía ochentona for flute, clarinet, violin, viola and piano (2017), 9 mn about , Suvini Zerboni
  • Instrumental ensemble music
  • Concertant music
  • Vocal music and instrument(s)
    • Comentarios a dos textos de Gerardo Diego for voice and three instruments (1956), 11 mn, Modern
    • Glosa for soprano and ensemble, on Luis de Góngora's “Soledad segunda”. (1961), 7 mn, partition retirée du catalogue
    • Escena for mixed choir and ensemble after Rafael de la Vega (1964), 14 mn, Tonos
    • Ein Wort for soprano and three instruments, to a poem by Gottfried Benn (1965), Tonos
    • Protocolo scenic action on a montage of texts by Luis de Pablo (1968), 45 mn, Salabert
    • Berceuse show (1973-1974), 30 mn, Suvini Zerboni
    • Portrait imaginé for twenty-two instrumentalists and twelve voices (1974, 1994), 51 mn, Suvini Zerboni
    • elec Al son que tocan (2000) for soprano, four basses, two reciters and orchestra (1974-1975), 35 mn, Suvini Zerboni
    • Zurezko olerkia for mixed choir and percussion (1975), Suvini Zerboni
    • Ederki for soprano, viola and percussion, from a poem by Robertet (1977-1978), 6 mn, Suvini Zerboni
    • Pocket Zarzuela for mezzo-soprano and ensemble, texts by José Miguel Ullán (1978), 18 mn, Suvini Zerboni
    • Canción for voice, oboe, trumpet, celesta and harp (1979), 6 mn, Suvini Zerboni
    • stage Kiu Opera in two acts on a libretto by Luis de Pablo after "El Cero transparant" by Alfonso Vallejo (1979), 2 h, Suvini Zerboni
    • El manantial for soprano and six instruments, after Jorge Guillén (1982), 8 mn, Suvini Zerboni
    • Intermezzo e due arie da Kiu for soprano and orchestra (1982), 14 mn, Suvini Zerboni
    • elec Malinche for soprano, piano and tape (1983), 24 mn, Suvini Zerboni
    • Serenata for wind ensemble and mixed choir (1984), 21 mn, Suvini Zerboni
    • Viatges i Flors for soprano, 2 reciters, choir and orchestra (1981-1984), 37 mn, Suvini Zerboni
    • Zu Straßburg auf der Schanz on texts from "Des Knaben Wunderhorn" (1985), 4 mn, Suvini Zerboni
    • Malinche for soprano and piano (1985-1986), 19 mn, Suvini Zerboni
    • Tarde de poetas cycle for soprano, baritone, mixed choir and ensemble (1985-1986), 1 h 20 mn, Suvini Zerboni
    • Com un epíleg for choir and orchestra (1988), 18 mn, Suvini Zerboni
    • stage El Viajero indiscreto Opera in a prologue, two acts, and an epilogue on a libretto by Vincente Molina Foix (1984-1988), 3 h, Suvini Zerboni
    • Ricercare-ricordare for narrator, mixed choir and ensemble (1990), 33 mn, Suvini Zerboni
    • De la América pretérita for soprano, two reciters and orchestra (1991), 26 mn, Suvini Zerboni
    • La Madre invita a comer opera in five scenes to a libretto by Vicente Molina Foix (1991-1992), 1 h 15 mn, Suvini Zerboni
    • Relámpagos for tenor and orchestra (1996), 12 mn, Suvini Zerboni
    • stage La señorita Cristina opera in three acts (1997-1999), Suvini Zerboni
    • Puntos de amor for soprano and clarinet (1999), 15 mn, Suvini Zerboni
    • Tre frammenti sacri for choir, two trumpets and trombone (1999), 4 mn, Suvini Zerboni
    • Canción reduced version for soprano, clarinet and piano (2000), 7 mn, Suvini Zerboni
    • La navidad preferida (Belén Malagueño) for soprano, mixed choir, narrator (ad lib.) and orchestra (2000), 16 mn, Suvini Zerboni
    • Los novísimos for twenty-two instruments and male choir (2003), 34 mn, Suvini Zerboni [program note]
    • stage Un parque one-act chamber opera (2004-2005), 60 mn, Suvini Zerboni
    • Circe de España for mezzo-soprano and six instrumentalists (2006), 10 mn, Suvini Zerboni
    • Passio for soloist, male choir and orchestra (2005-2006), 40 mn, Suvini Zerboni
    • Martinus for narrator, baritone, children's choir, mixed choir and chamber orchestra (2008), 28 mn, Suvini Zerboni
    • Trio de doses for mezzo-soprano, violin, cello and piano (2007-2008), 7 mn, Suvini Zerboni
    • Animae for two contraltos, two horns, two trombones and cello (2013), 23 mn, Suvini Zerboni
    • stage El abrecartas opera in a prologue and six scenes (2015), 2 h 20 mn about , Suvini Zerboni
    • Dos canciones for voices and instruments (2016), 7 mn 30 s, Suvini Zerboni
    • Me asomo a la noche for two contraltos, male choir and orchestra (2015-2016), 25 mn about , Suvini Zerboni
    • Cantata femenina « Anna Swir » for women's choir and orchestra (2016-2017), 28 mn 30 s about , Suvini Zerboni
    • La caída de Bilbao for solo cello, mixed choir and orchestra (2017), 42 mn 36 s, Suvini Zerboni
    • Sobre un peñasco for baritone, flute, horn, harp and cello (2017-2018), 8 mn about , Suvini Zerboni
  • A cappella vocal music
    • Yo lo vi for 12 mixed voices (1970), 18 mn, Salabert
    • elec Visto de cerca for three amateur singers and magnetic tape (1974), 22 mn, Suvini Zerboni
    • Bajo el sol for mixed choir (1977), 25 mn, Suvini Zerboni
    • Variaciones de León for six solo voices on a text by Vicente Molina Foix (1992-1993), 15 mn, Suvini Zerboni [program note]
    • Cape Cod for a cappella choir (1994), 8 mn, Suvini Zerboni
    • Romancero for vocal ensemble (1994), 40 mn, Suvini Zerboni
    • Carta Cerrada for twelve mixed voices (1999-2000), 15 mn, Suvini Zerboni
    • Fragmenta psalmorum for children's choir (2004), 5 mn, Suvini Zerboni
  • Electronic music / fixed media / mechanical musical instruments

Documents

Liens Internet

(liens vérifiés en mars 2022).

Bibliographie

Ouvrages et articles écrits par Luis de Pablo
Ouvrages
  • Luis DE PABLO, Lo que sabemos de música, Madrid, Gregorio del Toro, 1967.
  • Luis DE PABLO, Aproximación a una estética de la música contemporánea, Madrid, Ciencia Nueva, 1968, trad. fr. Approche d’une esthétique de la musique contemporaine, par Louis Jambou, Paris, Presses de l’Université de Paris-Sorbonne, 1996.
  • Luis DE PABLO, Una historia de la música contemporánea, Bilbao, Fundación BBVA, 2009.
  • Luis DE PABLO, A contratiempo, Madrid, Sociedad Estatal de Conmemoraciones Culturales / Círculo de Bellas Artes, 2009. (Propos du compositeur recueillis par Manuel Añón, Juan Barja, Fabián Panisello et José Luis Téllez)
Articles (classement chronologique)
  • « Un problema siempre olvidado », in L a estafeta literaria, n° 163, 3e époque, 15 février 1959, p. 16.
  • « Madrid : un mes », in Acento cultural-Suplemento quincenal, 11-12, 1 juin 1960, p. 3.
  • « Madrid : un mes », in Acento cultural-Suplemento quincenal, 15-16, 1 juillet 1960, p. 2.
  • [Musicus], « New Music in Spain », in Rollo H. Myers (éd.), Twentieth Century Music. Its Forms, Trends and Interpretations, London, John Calder, 1960, pp. 175-186.
  • « Una encuesta de Ínsula: Unamuno hoy », in Ínsula, 181, décembre 1961, p. 4.
  • « La formalística musical actual como centro evolutivo », in Revista Musical Chilena, vol. 16, n° 78, octobre – décembre 1961, pp. 49-63.
  • « La cantidad sonora como noción eje de una perceptiva musical », in Noray, n° 3, août - novembre 1963, pp. 48-51.
  • « Reflexiones sobre diez años de trabajo », in Noray, n° 2, juin - juillet 1963, pp. 56-58.
  • « La I Bienal Internacional de Música Contemporánea », in Triunfo, n° 133, 19 décembre 1964, pp. 85-87.
  • « La música », in Panorama español contemporáneo, Madrid, Ediciones Cultura Hispánica, 1964, pp. 267-282.
  • « Luis de Pablo : músicos de hoy », in Buenos Aires musical, Buenos Aires, n° 313, 1964, pp. 5-6.
  • « Primera Bienal Internacional (II) », in Triunfo, n° 134, 26 décembre 1964, p. 81.
  • « Un impacto en la vida cultural española », in Triunfo, n° 129, 21 novembre 1964, pp. 79-81.
  • « En torno a una obra », in Triunfo, n° 145, 13 mars 1965, p. 10.
  • « Festival de música contemporánea I », in Triunfo, n° 157, 5 juin 1965, p. 10.
  • « Festival de música contemporánea II », in Triunfo, n° 159, 19 juin 1965, p. 59.
  • « Festival de música contemporánea III », in Triunfo, n° 161, 3 juillet 1965, p. 60.
  • « La composición musical: una actividad no reconocida », in Triunfo, n° 139, 30 janvier 1965, p. 9.
  • « La música actual y nosotros », in Triunfo, n° 141, 10 février 1965, p. 9.
  • « La música actual y nosotros II », in Triunfo, n° 143, 27 février 1965, p. 10.
  • « La ópera, manifestación artística en entredicho », in Triunfo, n° 147, 27 mars 1965, p. 9.
  • « Los nuevos medios sonoros I », in Triunfo, n° 153, 8 mai 1965, p. 17.
  • « Los nuevos medios sonoros II », in Triunfo, n° 155, 22 mai 1965, p. 17.
  • « Segundo festival de “Nuova Consonanza” », in Triunfo, n° 151, 24 avril 1965, p. 12.
  • « Un libro y un problema », in Triunfo, n° 163, 17 juillet 1965, p. 8.
  • « Una institución modelo », in Triunfo, n° 149, 10 avril 1965, p. 10.
  • « El concerto para clavicémbalo y cinco instrumentos de Manuel de Falla », in Buenos Aires Musical, Buenos Aires, n° 371, 1967, p. 5.
  • « Auf neuen Wegen », in Melos, n° 35, 1968, pp. 92-93.
  • « La desmitificación de la partitura », in Triunfo, n° 310, 11 mai 1968, pp. 12-13.
  • « Reflexiones sin título », in Revista de Occidente, n° 69, décembre 1968, pp. 9-12.
  • « The contemporary composer and the music of the third world = Le compositeur contemporain et la musique du tiers monde = Der zeitgenössische Komponist und die Musik der dritten Welt » (text trilangue), in The World of music, Bâle, vol. 10, n° 4, 1968, pp. 19-27.
  • « Consideraciones entorno a la música contemporánea. Algunos supuestos », in Informaciones, 19 février 1970.
  • « Nuevos horizontes de la música », in Revista Arbor, n° 291, mars 1970, pp. 46 (264) - 54 (272).
  • « ¿Una crisis de la estética actual? », in Revista Musical Chilena , XXV/115-116, juillet – décembre 1971, pp. 10-14.
  • « La música “seria”, al día », in Triunfo, n° 476 (extra), 13 novembre 1971, pp. 46-49.
  • « ¿Qué hacer? : (homenaje) para Horacio Vaggione », in Buenos Aires Musical, Buenos Aires, 1971, n° 428, p. 5.
  • « Anton Webern », in Bellas Artes 72, Madrid, n° 14, mars - avril 1972, pp. 29-31.
  • « La lucha contra la integración », in Triunfo, n° 507 (extra), 17 juin 1972, pp. 96-98.
  • « Algunas consideraciones en torno al Zurezko Olerkia », in Común : Arte, arquitectura, pensamiento, ciudad, n° 1, janvier 1979, pp. 75-80.
  • « Intervenciones monográficas en los plenos de la academia. ¿Que enseñar al aprendiz de compositor?», in Academia: Anales y Boletín de la Real Academia de Bellas Artes de San Fernando , n° 81, juillet - décembre 1995, pp. 153-156.
  • « Kiu, ópera prima : Colaboración invitada », in Ritmo, n° 510, 1981, pp. 7-8.
  • « La “política internacional” de la “música electroacústica” », in El País, 14 octobre 1981, p. 38.
  • « Una experiencia musical con el ordenador I : Donde la libertad se muerde la cola », in El País, 8 janvier 1982, p. 23.
  • « Una experiencia musical con el ordenador II : La máquina sólo hace lo que se le ordena », in El País, 9 janvier 1982, p. 21.
  • « La Música », in LAÍN ENTRALGO, Pedro (coord.), Los estudios de un joven de hoy, Madrid, Fundación Universidad Empresa, 1982, pp. 195-207.
  • « Autorretrato uno », in Colóquio. Artes, Lisbonne, Fundação C. Gulbenkian, n° 60, mars 1984, pp. 56-60.
  • « La música y las nuevas músicas », in El País, 25 mars 1984, pp. 12-13.
  • « Gerardo Rueda, pintura frecuentemente musical », in Guadalimar : Revista de las Artes, n° 83, février - mars 1985, p. 17.
  • « Propuestas culturales a las fundaciones españolas, El arte y las fundaciones », in Cuenta y Razón, n° 24, septembre 1986.
  • « Conversaciones con Ligeti » : sobre ‘Ligeti in Conversation’ de Péter Várnai, Josef Häusler, Claude Samuel y György Ligeti », in Saber leer, n° 2, 1987, pp. 10-11.
  • « El caso Stockhausen : sobre ‘Stockhausen, intervista sul genio musicale’ de Mya Tannenbaum», in Saber leer, n° 20, décembre 1988, p. 10.
  • « Algunas reflexiones sobre la tradición musical » [Discurso del académico electo Excmo. Sr. D. Luis de Pablo Costales leído en el acto de su recepción pública el día 14 de mayo de 1989 y contestación del académico de número Excmo. Sr. D. Federico Sopeña Ibáñez], Madrid, Real Academia de Bellas Artes de San Fernando, 1989, pp. 9-21.
  • « El parto laborioso de la música », in CONTE, Rafael (éd.), Una cultura portátil, Madrid, Ediciones Temas de Hoy, janvier 1990.
  • « La ópera: tradición, libertad, imaginación ». Ponencia inIV Congreso Asociación Internacional Teatro Lírico. Celebrado en Bilbao, 07-10/09/1990, 1990, pp. 13-19.
  • « La ópera en España», in Scherzo, 5 (46), juillet - août 1990, pp. 83-103.
  • « Componer en Madrid », in Música en Madrid, Madrid, Madrid Capital Europea de la Cultura, D.L., 1992, pp. 11-17.
  • « Hace treinta años », in Revista de cultura de Crónica 16 [« Tomas Marco. Medio siglo con la música »], León, 12 septembre 1992.
  • « La diversidad del fenómeno musical », in Actas del Segundo Simposio Nacional : La Educación Musical Elemental . Congreso celebrado en Madrid, 1993. Madrid, ISME España. Fundación Caja de Madrid, 1993, pp. 47-49.
  • « Pequeña historia de una colaboración », in Revista de Occidente, nº 144, mai 1993, pp. 101-102.
  • « Personal », in Revista de Occidente, nº 151, décembre 1993, pp. 124-125.
  • « Sobre el género sinfónico » Discurso del académico electo Excmo. Sr. D. Carmelo Alonso Bernaola, leído en el acto de su recepción pública el día 17 de enero de 1993, y contestación de Luis de Pablo Costales. Madrid, Real Academia de Bellas Artes de San Fernando, 1993.
  • « La ópera española en el fin de siglo », in ADE teatro: Revista de la Asociación de Directores de Escena de España , nº 37-38, 1994, pp. 48-55.
  • « ¿Qué enseñar al aprendiz de compositor? » [Intervenciones monográficas en los plenos de la academia], in Academia, boletín de la Real Academia de Bellas Artes de San Fernando , nº 81, juillet – décembre 1995, pp. 153-156.
  • « Tendencias de la creación contemporánea », in LAVISTA, Mario (et al.), Música y sociedad en los años 90. Actas del Congreso del Consejo Iberoamericano de la Música, celebrado en Madrid, del 8 al 10 de junio de 1994, Madrid, INAEM - SGAE, pp. 99-104.
  • « Recuerdo de Gerardo Rueda », in Academia, boletín de la Real Academia de Bellas Artes de San Fernando , nº 81, 1996, pp. 154-156.
  • « Músico, poeta y santo: Tyagaraja : sobre ‘Tyagaraja: Life and Lyrics’, de William J. Jackson », in Saber leer, n° 111, 1998, pp. 6-7.
  • « Algunas notas sobre “Entrada” », in Academia: Anales y Boletín de la Real Academia de Bellas Artes de San Fernando , nº 88, janvier - juin 1999, pp. 14-18.
  • « Breves palabras del autor », in La Señorita Cristina / Luis de Pablo, Madrid, Teatro Real, 150º Aniversario. Temporada 2000-2001, 2000-01, pp. 42-45.
  • « De la charla al ‘scotch’ », in El Ciervo: revista mensual de pensamiento y cultura, nº 607, 2001, p. 28.
  • « ¿Es usted alegre? Vivo sin dolor », in El Ciervo: revista mensual de pensamiento y cultura,, n° 617-618, août - septembre 2002.
  • «Cuestión de supervivencia», in El Ciervo: revista mensual de pensamiento y cultura, nº 628-629, 2003, p. 8
  • « Notas sobre el Maestro Jacinto Guerrero » [Agradecimiento], in X Premio de Música Fundación Guerrero 2004, Luis de Pablo (1930), Madrid, Fundación Jacinto e Inocencio Guerrero, 2004, pp. 12-13.
  • « Reflexiones en voz alta » [discurso del académico electo Excmo. Sr. D. José Ramón Encinar Martínez, leído en el acto de su recepción pública, el día 10 de abril de 2005, y contestación del académico Excmo. Sr. D. Luis de Pablo Costales], in Discursos académicos. Real Academia de Bellas Artes de San Fernando, 2005.
  • « Falta de respeto », in Letras libres, novembre 2006, p. 53.
  • « No se enseña a amar la música» [Entretien], in La verdad, 4 avril 2006.
  • « ¿Fronteras y conocimiento en música?: Unos apuntes », in Fronteras del conocimiento, Fundación BBVA, 2008, pp. 391-404.
  • « Romancero », in Sibila : revista de arte, música y literatura, n° 40, 2012, pp. 51-53.
  • « Luis de Pablo habla de su obra », in Quodlibet: revista de especialización musical, nº 61, 2016, pp.113-121.
Ouvrages sur Luis de Pablo
Monographies
  • DE VOLDER, Piet, Encuentros con Luis de Pablo. Ensayos y entrevistas, Madrid, Fundación Autor, 1998.
  • DE VOLDER, Piet, Le théâtre musical de Luis de Pablo: « Kiu », « El viajero indiscreto », « La madre invita a comer », « La señorita Cristina » , Milan, Suvini Zerboni, 2001.
  • DEUTSCH, Max, Luis de Pablo. Portrait d’un compositeur, Darmstadt, Tonos, 1966.
  • GARCÍA DEL BUSTO, José Luis (éd.), Escritos sobre Luis de Pablo, Madrid, Taurus, 1987.
  • GARCÍA DEL BUSTO, José Luis, Luis de Pablo, Madrid, Espasa-Calpe, 1979.
  • GARCÍA DEL BUSTO, José Luis, Luis de Pablo, Catálogos de compositores españoles, Madrid, SGAE, 1994
  • GARCÍA DEL BUSTO, José Luis, Luis de Pablo, Orquesta Filarmónica de Málaga, 2007.
  • GARCÍA DEL BUSTO, José Luis, Luis de Pablo. De ayer a hoy, Madrid, Fundación Autor-SGAE, ICCMU, 2009.
  • LORENZO, Daniel, Luis de Pablo y el « poema en música », Madrid, Fundación SGAE, 2018.
  • MARCO, Tomás, Luis de Pablo, Madrid, Ministerio de Educación y Ciencia, Madrid, Col. Artistas Españoles Contemporáneos, 9, 1971.
  • MARCO, Tomás, Luis de Pablo, Catálogos de compositores españoles, Madrid, SGAE, 1994.
  • VON DER WEID, Jean-Noël, Luis de Pablo, bâtisseur d’essentiel, Château-Gontier, Ædam Musicæ, 2020.
Articles
a. Articles parus dans des revues musicales spécialisées
  • ÅSTRAND, Hans, « Apuntes para un pocket retrato de un compositor transpirenaico. Luis de Pablo en el septuagésimo año », in Musiker. Cuadernos de música, n° 12, 2000, pp. 181-197.
  • CADIEU, Martine, « Luis de Pablo ou l’art des métamorphoses », in L’éducation musicale, 551-552, mars - avril 2008, pp. 46-47.
  • CÁMARA IZAGUIRRE, Aintzane, LAZKANO ORTEGA, Ramón, « Luis de Pablo a través de su música », in Musiker. Cuadernos de Música, n° 18, 2011, pp. 265-281.
  • CHARLES SOLER, Agustín, « Poesía-música : sonido de la guerra y senderos del aire de Luis de Pablo », in Nassarre: Revista aragonesa de musicología, vol. 13, n° 1-2, 1997, pp. 9-48.
  • DE VOLDER, Piet, « Una música de cámara explosiva », in X Premio de Música Fundación Guerrero 2004, Luis de Pablo (1930), Madrid, Fundación Jacinto e Inocencio Guerrero, 2004, pp. 49-58.
  • FERNÁNDEZ VECINO, Clara Luz, « Dodecafonismo en la Sonata para piano op. 3 de Luis de Pablo », in Temas para la Educación. Revista digital para profesionales de la ensenanza , n° 13, Federación de Ensenaza de C.C.O.O. de Andalucía, mars 2011.
  • GARCÍA DEL BUSTO, José Luis, « El intérprete visto por el compositor: entrevista con Luis de Pablo », in Variaciones. Cuadernos de música contemporánea, n° 4, Valencia, Conselleria de Cultura, avril 1996, pp. 77-83.
  • GARCÍA DEL BUSTO, José Luis, « La aportación de Luis de Pablo a través de sus obras concertantes », in X Premio de Música Fundación Guerrero 2004, Luis de Pablo (1930), Madrid, Fundación Jacinto e Inocencio Guerrero, 2004, pp. 29-47.
  • GARCÍA DEL BUSTO, José Luis, « Luis de Pablo aquí y ahora », in Pauta, [Mexique], vol. 5, n° 19, juillet – septembre 1986, pp. 29-40.
  • IBARRETXE, Gotzon, « Fronteras de la música vasca », in Trans : Transcultural Music Review = Revista Transcultural de Música , n° 8, 2004.
  • IBARRETXE, Gotzon, « Luis de Pablo: notas para una etnomusicología surrealista », in SÁNCHEZ EQUIZA, Carlos, Actas del IV Congreso de la Sociedad Ibérica de Etnomusicología: Granada 9 al 12 de julio de 1998 , 1999, pp. 337-352.
  • LÓPEZ ESTELCHE, Israel, « Azar y control en las obras corales de Luis de Pablo. Ideación y evolución de los módulos durante los 70’ », in Revista de Musicología, vol. 33, n° 1-2, 2010, pp. 373-390.
  • MÂCHE, François-Bernard, « Les Mal Entendus. Compositeurs des années 70 », in La Revue Musicale, Paris, Richard Masse, 1978, n° 314-315, pp. 119-123.
  • MARTÍNEZ GARCÍA, Francisco, « El saxofón en la obra de Luis de Pablo », in Eufonía: Didáctica de la música, nº 61, 2014, pp. 61-75.
  • MARTÍNEZ GORRIARÁN, Carlos, « Luis de Pablo y la tensión entre cosmopolitismo e identidad en la vanguardia vasca del siglo XX », in Musiker. Cuadernos de música, n° 12, 2000, pp. 199-206.
  • PÉREZ CASTILLO, Belén, « Entrevista con Luis de Pablo », in Cuadernos de Música Iberoamericana, Madrid, Instituto Complutense de Ciencias Musicales, vol. 5, 1998, pp. 185-196.
  • RODRIGUEZ, María del Mar, « Entrevista sobre educación musical con Luis de Pablo », in Música y educación. Revista trimestral de pedagogía musical, vol. 16, juin 1993, pp. 9-13.
  • TÉLLEZ, José Luis, « El viajero cercano », in Musiker. Cuadernos de música, n° 12, 2000, pp. 161-170.
  • TÉLLEZ, José Luis, « Luis de Pablo : invitación a la memoria », in X Premio de Música Fundación Guerrero 2004, Luis de Pablo (1930), Madrid, Fundación Jacinto e Inocencio Guerrero, 2004, pp. 15-20.
  • ZUBIKARAI ERKIAGA, Juan Antón, « Luis de Pablo y la comunicación de su pensamiento », in Musiker. Cuadernos de música, n° 12, 2000, pp. 171-179
  • ZUBIKARAI ERKIAGA, Juan Antón, « Formas de hacer de Luis de Pablo » in VILLA ROJO, Jesús (coord.), Músicas actuales: ideas básicas para una teoría, Bilbao, Fundación Bilbao Bizkaia Kutxa, 2008, pp. 401-407.
b. Articles parus dans des publications musicales à caractère général
  • BARCE, Ramón, « Aspectos y problemas de la música española », in Ritmo, novembre 1963, XXXIV, n° 339, pp. 4-5.
  • ERKOREKA, Constanza, « La música orquestal de Luis de Pablo », in Melómano, n° 156, septembre 2010, pp. 60-62.
  • FLUVIÀ, Jordi, « Luis de Pablo : l’afany de sintonia del compositor amb el seu temps », in Revista musical catalana, n° 27, 1987, pp. 37-41.
  • GARCÍA DEL BUSTO, José Luis, « La señorita Cristina. El teatro de Luis de Pablo », in Scherzo, janvier – février 2001, n° 151, p. 16.
  • GARCÍA DEL BUSTO, José Luis, « Luis de Pablo evoca su ayer », in Diverdi, n° 187, 2009, pp. 50-53.
  • GONZÁLEZ MIRA, Pedro, « Luis de Pablo. Premio “Fundación Guerrero”, al fin », in Ritmo, avril 2004, n° 763, pp. 12-13.
  • GOYAS, Juan Carlos, « Luis de Pablo. Entrevista », in Revista musical catalana, juin 1986, p. 28.
  • LÓPEZ LERDO DE TEJADA, Fernando, « Madrid : Entrevista con Luis de Pablo, Premio “Acento” », in Ritmo, vol. 29, n° 304, 1959, pp. 10-11.
  • LÓPEZ, José Miguel, « Luis de Pablo. Entrevista », in Ritmo, octobre 1975, XLV, n° 455, pp. 5-9.
  • REVERTER, Arturo, « Kiu, una obra del cero al infinito », in Ritmo , n° 532, avril 1983, p. 65.
  • REVERTER, Arturo, « Luis de Pablo : cincuenta años », in Ritmo, n° 502, juin 1980, pp. 67-68.
  • ROMANO, Jacobo, « Luis de Pablo », in Buenos Aires musical, Buenos Aires, 1 septembre 1964, n° 313, pp. 5-6.
  • ROMANO, Jacobo, « Luis de Pablo en Buenos Aires », in Buenos Aires musical, Buenos Aires, 16 juin 1969, n° 396, p. 5.
  • TRUJILLO HERVÁS, Elena, « Luis de Pablo: setenta años de música », in Ritmo, n° 723, 2000, pp. 110-111.
  • TRUJILLO HERVÁS, Elena, « Luis de Pablo. X Premio de Música Fundación Guerrero », in Ritmo, juin 2004, n° 765, pp. 82-83.
  • VILLASOL, Carlos, « Luis de Pablo : Lo único que he reivindicado siempre es la libertad de expresarme », in Ritmo, n° 608, mars 1990, pp. 28-31.
c. Articles parus dans des publications littéraires ou artistiques
  • ARTEAGA, José Luis de, « Luis de Pablo : ¿retrato del artista adolescente? », in Reseña de literatura, arte y espectáculos, n° 137, mars-avril 1982, pp. 42-44.
  • CHAO, Ramón, « Luis de Pablo » [Entretien], in Triunfo, n° 557, 1973, pp. 40-41.
  • GUERRERO MARTÍN, José, « Luis de Pablo : la música como postura ética ante la vida », in Triunfo, n° 893, 8 mars 1980, pp. 46-48.
  • LEÓN TELLO, Francisco José, « La estética de Luis de Pablo », in Bellas Artes 71, septembre-octobre 1971, n° 11, pp. 12-16.
  • MÂCHE, François-Bernard, « Entretien avec Luis de Pablo », in La Nouvelle Revue Française, 44, n° 259, 1974, pp. 124-128.
  • MONTERO ALONSO, José, « Luis de Pablo : la nueva música y la música eterna », in Mundo hispánico, Madrid, n° 229, avril 1967, pp. 33-35.
  • SALAS VIU, Vicente, « Luis de Pablo y Cristóbal Halffter : dos vertientes en la nueva música en España », in Revista de Occidente, Madrid, juin 1966, n° 39, pp. 390-409.
  • SOLARE, Juan María, « Una conversación con Luis de Pablo », in Sibila. Revista de Arte, Música y Literatura, Séville, n° 11, janvier 2003, pp. 47-51.
  • TÉLLEZ, José Luis, « Conversando con Luis de Pablo », in Minerva, I, Madrid, Círculo de Bellas Artes, 2006.
  • TEMPRANO, Andrés, « Puntos de amor y carta cerrada. Dos composiciones de Luis de Pablo con textos de San Juan de la Cruz », in In labore requies, MILLÁN, Fernando (éd.), Rome, Ed. Carmelitane, 2007, pp. 759-783.

Discographie

Les œuvres sont présentées par ordre alphabétique. Lorsqu’il y a plusieurs enregistrements d’une même œuvre, ils sont séparés par une barre oblique. Sauf indication contraire, tous les enregistrements sont en format CD.

  • Adagio, Orquesta Sinfónica de Madrid, Cristóbal Halffter (direction), « Concierto inaugural del Año Europeo de la Música », LP LINTERNA MUSICA, AA 1185-010/11 (1985)
  • A modo de concierto, Pedro Estevan (percussion), Orquesta de cámara Reina Sofía, José Ramón Encinar (direction), CD RTVE Música 650008 (1992)
  • Al son que tocan, Beatriz Melero (soprano), Luis Álvarez (basse), Carlos Chausson (basse), Fernando Gallego (basse), Francisco Plaza (basse), Grupo instrumental, José María Franco Gil (direction), « Homenaje a Antonio Machado », LP RCA SRL 2-2444 (1975)
  • Anatomías , Zahir Ensemble, Marie Teresa Pfiz (alto), Juan García Rodríguez (direction), IBS Classical, IBS 12019 (2019)
  • Bok , Camilo Irizo (clarinette), Columna Música, 1CM0368 (2017)
  • Caligrafías (Federico Mompou in memoriam), Trío Arbós, CD Verso, VRS 2078 / Trío Mompou, « Canciones y danzas para Mompou », LP ETNOS 07-B-XLV (1988)
  • Cape Cod, Vox Nova, Nicholas Isherwood (direction), CD RTVE Música 65060 SIBILA 002 (1995)
  • Caricatura amistosa, Xiao Feng Wu (piano), Fundación Guerrero, Éd. Tritó (2008)
  • Casi un espejo , Orchestra Sinfonica Nazionale della RAI, Juanjo Mena (direction), Diverdi C 33008 (2010)
  • Cesuras, Conjunto de música contemporánea de Madrid, Enrique García Asensio (direction), « Panorama de la música contemporánea española », LP RCA VICTOR LSC-LM 16329 (1967)
  • Chamán, Coleccción de música contemporánea, 18’ LP Hispavox S 60 079 (1978) / LP Hispavox (30) 130 302 (1985) (rééd.)
  • Cinco meditaciones , Ensemble 2e2m, Paul Méfano (direction), ADDA 581260 AD 184 (1991)
  • Circe de España, Alda Caiello (soprano), Plural Ensemble, Fabián Panisello (direction), Instituto Cervantes de Bremen (2009)
  • Co le tromme in bocca, Orquesta Filármonica de Málaga, José Luis Temes (direction), Fundación Autor, SA 01570
  • Comme d’habitude , Jorge Zulueta (pianos), « Colección de música contemporánea, 9 », LP Hispavox (Clave) 18 5009 S (1973)
  • Com un epíleg, Orquesta de la Comunidad de Madrid, Coro de la Comunidad de Madrid, Cámara XXI, José Ramón Encinar (direction), Stradivarius, STR 33725 (2005)
  • Comentarios a dos textos de Gerardo Diego, Pura María Martínez (soprano), Grupo Koan, José Ramón Encinar (direction), CD RTVE Música 65060 SIBILA 002 (1995)
  • Compostela, Miguel Borrego (violon), José Miguel Gómez (violoncelle) (Trío Arbós), COL LEGNO, WWE 20064 (1999)
  • Concierto de cámara, Claude Helffer (piano), Ensemble 2e2m, Paul Méfano (direction) ADDA 581260 AD 184 (1991) / Zahir Ensemble, Julio Moguer (piano), Juan García Rodríguez (direction), IBS Classical, IBS 12019 (2019)
  • Concierto para piano y orquesta n° 1, Massimiliano Damerini (piano), Orquesta Filarmónica de Málaga, José Ramón Encinar (direction), « Conciertos para piano y orquesta », Fundación Autor, SA 01436 (2007) / Albert Giménez Attenelle (piano), Orquesta Sinfónica de Madrid, Antoni Ros Marbà (direction), CD Hispavox 7634782 (1989)
  • Concierto para piano y orquesta n° 2 « Per a Mompou », Massimiliano Damerini (piano), Orquesta Filarmónica de Málaga, José Ramón Encinar (direction), « Conciertos para piano y orquesta », Fundación Autor, SA 01436 (2007)
  • Concierto para piano y orquesta n° 3 (voir « Sueños »)
  • Coral, Grupo Círculo, José Luis Temes (direction), CD GASA, 9 G0441 (1991, rééd.)
  • Corola, Grupo Sax-Ensemble, José de Eusebio (direction), Fundación Sax-Ensemble, « En torno a Luis de Pablo », CD Verso, VRS 2041 (2000)
  • Cuaderno, Jean-Pierre Dupuy (piano), Col. SIMC-Sección Española 1, Stradivarius, STR 33399 (1996)
  • Cuatro fragmentos de Kiu, Pierre-Yves Artaud (flûte), Jacqueline Méfano (piano), ADDA 581260 AD 184 (1991) / Miguel Borrego (violon), Juan Carlos Garvayo (piano) (Trío Arbós), COL LEGNO, WWE 20064 / Víctor Parra (violon), Albert Nieto (piano), Sonopres Ibermemory ZC 266 377 / Roberto Fabbriciani (flûte), Massimiliano Damerini (piano) Stradivarius, STR 37032 (2015)
  • Danzas secretas, Frédérique Cambreling (harpe), Euskadiko Orkestra Sinfonikoa, Arturo Tamayo (direction), Basque Music Collection vol. XI, CD Claves, 50-2817 (2008)
  • Déjame hablar , Ensemble instrumental, Arturo Tamayo (direction), Música española contemporánea, vol. 6, LP CSE/RCA RL 35404 (1982)
  • De una ópera, María José Suárez (mezzo-soprano), Francesc Garrigosa (ténor), Orquesta Sinfónica de Bilbao, José Ramón Encinar (direction), A&B Master Records, CD 98-1 (1998)
  • Dibujos, Grupo Círculo, José Luis Temes (direction), CD GASA, 9 G 0441 (1991, rééd.) / Ensemble 2e2m, Paul Méfano (direction), ADDA 581260 AD 184 (1991) / Grupo LIM, Jesús Villa Rojo (direction), CD Fundación Bilbao Bizkaia Kutxa, LIM-BBK 003 (1994)
  • Dos improvisaciones, Genoveva Gálvez (clavecin), « Música española contemporánea para clave », RCA RECORDS, RL-35394 (1982)
  • Dos villancicos (El retablillo de Navidad), Ángeles Chamorro (soprano), Enrique Franco (piano), LP PAX ‘Discoteca popular católica’ 1ttN-4040 (1960)
  • Dúo , Camilo Irizo (clarinette), Josep Fuster (clarinette), Columna Música, 1CM0368 (2017)
  • Ederki, Maria José Suárez (soprano), Grupo LIM, Jesús Villa Rojo (direction), CD Fundación Bilbao Bizkaia Kutxa, LIM-BBK 013
  • …Eleison, Octeto de violoncellos Conjunto Ibérico, Elías Arizcuren (direction), « Spiritual Spanish Music from the XXI Century », ETCETERA, KTC 1268 (2004)
  • El manantial, Pura María Martínez (soprano), Grupo Koan, José Ramón Encinar (direction), CD RTVE Musica 65060 SIBILA 002 (1995)
  • Éléphants ivres I, II, II, IV, Orquesta sinfónica de RTVE, José Ramón Encinar (direction), RTVE Música, 650008 (1992)
  • Epístola al transeúnte, Grupo LIM, Jesús Villa Rojo (direction), CD Fundación Bilbao Bizkaia Kutxa, LIM-BBK 013 / Plural Ensemble, Fabián Panisello (direction), Instituto Cervantes de Bremen (2009)
  • Eros , Zahir Ensemble, Julio Moguer (piano), Dieter Nel (violoncelle), Juan García Rodríguez (direction), IBS Classical, IBS 12019 (2019)
  • Fábula, Gabriel Estarellas (guitare), « Música contemporánea española e italiana para guitarra » – Colección SIMC-Sección Española, 3, Stradivarius, STR 33401 (1999)
  • Frondoso misterio , Asier Polo (violoncelle), Euskadiko Orkestra Sinfonikoa, Arturo Tamayo (direction), Basque Music Collection vol. XI, CD Claves, 50-2817 (2008)
  • Fiesta I , Grupo de percusión y cuerdas de la Joven Orquesta Nacional de España, José Luis Temes (direction), Verso, VRS 2151 (2014)
  • Fiesta II , Grupo de percusión y cuerdas de la Joven Orquesta Nacional de España, José Luis Temes (direction), Verso, VRS 2151 (2014)
  • Figura en el mar, Pierre-Yves Artaud (flûte), Philharmonie de Lorraine, Josep Pons (direction), COL LEGNO, AU 31820 (1992)
  • Fragmento, Quatuor Arditti. « Cinq Quatuors Espagnols », The Arditti Quartet Edition, Montaigne, WM 334. 789006 (1990)
  • Il violino spagnolo, Erwin Arditti (violon), « Irvine Arditti. Recital for violin », Montaigne, WM 334-789003 (1990)
  • Imaginario I, Grupo Círculo, José Luis Temes (direction), CD GASA, 9 G 0441 (1991, rééd.)
  • Inicativas , Orchestre de la Radio de Baden-Baden, Ernest Bour (direction), LP Wergo, WER 60037 (1968)
  • Invitación a la memoria , Grupo Koan, José Ramón Encinar (direction), LP RCA, RL 35357 (1981)
  • Cinco impromptus para orquesta, Orquesta Sinfónica de Euskadi, Juanjo Mena (direction), Audiovisuales de Sarrià, 51686
  • J-H, Grupo LIM, Compositores vascos actuales, CD Fundación Bilbao Bizkaia Kutxa LIM- BBK 001 (1992) / Camilo Irizo (clarinette), María del Carmen Coronado (violoncelle), Columna Música, 1CM0368 (2017)
  • La patum, Musikene Sinfonietta, José Luis Estellés (direction), CD Musikene 4
  • La Señorita Cristina (Acte III, Scène 2), Pilar Jurado (soprano), Francesc Garrigosa (ténor), Real Orquesta Sinfónica de Sevilla, José Ramón Encinar (direction), A&B Master Records, CD 01 III
  • Las orillas, Orquesta Sinfónica de Tenerife, Victor Pablo Pérez (direction), COL LEGNO, AU 31818 8 (1993)
  • Leggero–Pesante, Horacio Lavandera (piano), Compositores Españoles de la Generación del 51, CD Verso, VRS 2057 (2007)
  • Le Prie-Dieu sur la terrasse, Tambuco Ensemble de percusiones de México, Serie Iberoamericana, vol. II España.
  • Libro de imágenes, Ensemble Nuove Sincronie, Renato Rivolta (direction), Stradivarius, STR 33329 (1993)
  • Lindaraja , Musikene Sinfonietta, José Luis Estellés, (direction), CD Musikene 4
  • Los Novísimos , Coro y Orquesta de la Comunidad de Madrid, José Ramón Encinar (direction), Jordi Casas Bayer (direction de chœur), Stradivarius, STR 33830 (2010)
  • Melisma furioso, Pierre-Yves Artaud (flûte), Colección de compositores vascos 1, COL LEGNO, AU 31820 (1992) / Roberto Fabbriciani (flûte), Stradivarius, STR 37032 (2015)
  • Metáforas, Marcello Parolini (piano), Ensemble Nuove Sincronie, Renato Rivolta (direction), Stradivarius, STR 33329 (1993)
  • Módulos I , Ensemble instrumental Alea, José Maria Franco Gil (direction), LP Erato, STU 70385 (1968)
  • Módulos III (ibidem)
  • Modulos IV(sous le titreEjercicio), Società cameristica italiana, LP Wergo, WER 60037 (1968)
  • Módulos V, Xavier Darasse (orgue), LP Erato EDO 224 (1971)
  • Monólogo, Emilio Navidad (alto), CD Fundación Bilbao Bizkaia Kutxa LIM-BBK 003 (1994)
  • Notturnino, Ensemble 2e2m, Paul Méfano (direction), ADDA 581260 AD 184 (1991)
  • Nubilus , Taller Sonoro de Sevilla, Columna Música, 1CM0368 (2017)
  • Ouverture à la française, Sax-Ensemble, José de Eusebio (direction), Fundación Sax-Ensemble, « En torno a Luis de Pablo », CD Verso, VRS 2041 (2000)
  • Oculto, Salvador Vidal (clarinette), CD GASA, 9 G 0441 (1991, rééd.) / Manuel Miján (saxophone), EMC 651 (1992) / Camilo Irizo (clarinette), Columna Música 1CM0368 (2017)
  • Paráfrasis e interludio , Sextuor de cordes de l’Atelier instrumental d’expression contemporaine, RENM 311180X (1993)
  • Paraíso y tres danzas macabras, Orquestra de Cambra del Teatre Lliure, Josep Pons (direction), Stradivarius, STR 33400 (1995) / Nouvel Ensemble Moderne, Lorraine Vaillancourt (direction), ATMA Classique, ACD2 2353
  • Pardon, Grupo LIM, Jesús Villa Rojo (direction), CD Fundación Bilbao Bizkaia Kutxa, LIM- BBK 003 (1994)
  • Passio , Georg Nigl (baryton), Roberto Balconi (contre-ténor), Coro maschile del Teatro Regio di Torino, Orchestra Sinfonica Nazionale della RAI, Gianandrea Noseda (direction), Diverdi, C 33008 (2010)
  • Per flauto , Roberto Fabbriciani (flûte), Stradivarius STR 37032 (2015)
  • Pocket Zarzuela, María Luisa Castellanos (mezzo-soprano), Grupo Koan, José Ramón Encinar (direction), CD RTVE Música 65060 SIBILA 002 (1995) /Alda Caiello (soprano), Plural Ensemble, Fabián Panisello (direction), Instituto Cervantes de Bremen (2009)
  • Polar, Ensemble instrumental Alea, José Maria Franco Gil (direction), LP Erato, STU 70385 (1968)
  • Portrait imaginé, Orquesta de la Comunidad de Madrid, Coro de la Comunidad de Madrid, Cámara XXI, José Ramón Encinar (direction), CD Stradivarius, STR 33725 (2005) /Grupo Koan, José Ramón Encinar (direction), LP RCA Red Seal, RL 35326 (1980)
  • Potpourri(1e pièce deVendaval), Orquesta Sinfónica de Madrid, José Ramón Encinar (direction), « Homenajes », A&B Master Records, CD 94-VII (1994)
  • Puntos de amor, Maria José Suárez (soprano), Juan F. Lara (clarinette), CD Fundación Bilbao Bizkaia Kutxa, LIM-BBK 013
  • Razón dormida, Nouvel Ensemble Moderne, Lorraine Vaillancourt (direction), ATMA Classique, ACD2 2353
  • Retratos y Transcripciones II, Juan Carlos Garvayo (piano), COL LEGNO, WWE 20064
  • Retratos y transcripciones III , Alfonso Gómez (piano), Espacio Sinkro Records, CD006 (2013)
  • Retratos y transcripciones IV, Horacio Lavandera (piano), Compositores Españoles de la Generación del 51, CD Verso, VRS 2057 (2007)
  • Ritornello, Octeto de violoncellos Conjunto Ibérico, Elías Arizcuren (direction), CD Canal Grande CG 94228 (1993)
  • Rumia, Grupo Sax-Ensemble, José de Eusebio (direction), Fundación Sax-Ensemble, « En torno a Luis de Pablo », CD Verso, VRS 2041 (2000)
  • Saturno, Xavier Joaquin et Josep Martínez (percussions), Pegasus Records, LP PLG 009 (1987) / Alredo Anaya et Rafael Gálvez (percussions), CD Fundación Bilbao Bizkaia Kutxa, LIM-BBK 013
  • Segunda lectura, Ensemble Nuove Sincronie, Renato Rivolta (direction), Stradivarius, STR 33329 (1993) / Ensemble Solistas de Sevilla, Miguel Angel Gris (direction), « Francisco Guerrero – Luis de Pablo », Fundación Autor, SA 01147 / Nouvel Ensemble Moderne, Lorraine Vaillancourt (direction), ATMA Classique, ACD2 2353
  • Senderos del aire, Tokyo Metropolitan Orchestra, Hiroyuki Iwaki (direction), Colección de compositores vascos 1, COL LEGNO, AU 31820 (1992)
  • Soirée, Grupo LIM, CD Fundación Bilbao Bizkaia Kutxa, LIM-BBK 003 (1994)
  • Soledad interrumpida , LP Clave 18.5009 S (1973, rééd.)
  • Soliloquio , Roberto Fabbriciani (flûte), Stradivarius, STR 37032 (2015)
  • Solo-Kunst , Maurizio Barbetti (alto), Stradivarius STR 37056 (2017) /Camilo Irizo (clarinette), Columna Música, 1CM0368 (2017)
  • Sonata para piano , Jorge Zulueta, LP Ministerio de Educación Peruano (1982)
  • Sonido de la guerra, Ana Higueras (soprano), Manuel Cid (ténor), José Luis Gómez (récitant), Grupo Koan, José Ramón Encinar (direction), CD RTVE Musica, 65060 SIBILA 002 (1995)
  • Sueños (Concierto para piano y orquesta n° 3), Massimiliano Damerini (piano), Orquesta Filarmónica de Málaga, José Ramón Encinar (direction), « Conciertos para piano y orquesta », Fundación Autor, SA 01436 (2007)
  • Tango(n° 3 deRetratos y transcripciones I), Iñigo Aizpiolea et Inaki Alberdi (accordéons), Banco de Sonido, BS 025 / Francisco Javier López Jaso (accordéon), Zeta Soluciones Audiovosuales 0004 / Janne Rättyä (accordéon), Alba ABCD 441 (2019)
  • Tarde de poetas, Luisa Castellani (soprano), Jorge Chaminé (baryton), Cor de València, Orquestra de Cambra del Teatre Lliure, Josep Pons (direction), CD Harmonia Mundi France, HMC 901568 (1996)
  • Tombeau , Orchestre de la Radio de Hambourg, Michael Gielen (direction), LP Wergo, WER 60037 (1968)
  • Tornasol, Grupo Círculo, José Luis Temes (direction), CD GASA, 9G0441 (1991, rééd.)
  • Tréboles, Orquesta Sinfónica de Castilla y León, José de Eusebio (direction), Junta de Castilla y León, ARD-011 OCL007
  • Trío con piano n° 1, Trío Arbós, COL LEGNO, WWE 20064 / Trio Matisse, CD Ermitage ERM 413 (1994) / Trío Arbós, CD Verso, VRS 2078
  • Trío con piano n° 2, Trío Arbós, CD Verso, VRS 2078
  • Trío de cuerda, Grupo LIM, CD Fundación Bilbao Bizkaia Kutxa, LIM-BBK 003 (1994)
  • Trío de doses, Alda Caiello (soprano), Trio Arbós, CD Verso, VRS 2078 / Alda Caiello (soprano), Plural Ensemble, Fabián Panisello (direction), Instituto Cervantes de Bremen (2009)
  • Turris Eburnea , Adam Levin (Guitare), Naxos 8.573409 (2016)
  • Umori, Solistas de Sevilla, Miguel Ángel Gris (direction), « Francisco Guerrero – Luis de Pablo », Fundación Autor, SA 01147
  • Une couleur…, Orchestre National de Roumanie, Daniel Kientzy (saxophone), Remus Georgescu (direction), NOVA MUSICA, NMCD 5108 (2000)
  • Un diálogo cordial , Camilo Irizo (clarinette), Josep Fuster (clarinette), Columna Música, 1CM0368 (2017)
  • Un día tan solo , Camilo Irizo (clarinette), Jesús Sánchez Valladares (flûte), Columna Música, 1CM0368 (2017)
  • Vendaval , Orquesta de la Comunidad de Madrid, José Ramón Encinar (direction), Stradivarius, STR 33830 (2010)
  • Vielleicht , Grupo de percusión y cuerdas de la Joven Orquesta Nacional de España, José Luis Temes (direction), Verso, VRS 2151 (2014)
  • Visto de cerca, Grupo Koan, LP Hispavox (30) 130 302 (1985, rééd.)
  • We, Colección de Música Contemporánea, LP Clave – 18-5001 S (1970) / CD Creel Pone – 035 (2006)
  • Zurezko Olerkia, Artza Anajak (txalaparta), P’an Ku (percusions), Grupo Vocal de Madrid, José Luis Temes (direction), Iberautor Promociones Culturales, SA00873 (2003) / Kea Ahots Taldea, Enrique Azurza (direction), DLSS975/01

Filmographie

Entretiens filmés
Documentaires
  • Luis de Pablo, evolución hacia el siglo XXI, Angel Enfedaque / Gaizka Urresti, réalisation. Bilbao, Ed. Kuraia cop. 2011, cassette video. Répétition et interprétation dePolaret deFragmentos de Kiu. Enregistré les 21 et 22 octobre 2000 au Musée Guggenheim de Bilbao.
  • Luis de Pablo y su obra Frondoso misterio, con la colaboración de Asier Polo, Alberto Gorritiberea (réalisation), Jakiunde, Académie des sciences, des arts et des lettres d’Eusko Ikaskuntza, Saint-Sébastien, 2015. Disponible sur : https://www.youtube.com/watch?v=SRT9ahGaFPc&ab_channel=Jakiunde [Réf. du 27 septembre 2019].