Characterizing Luis de Pablo as one of today's leading Spanish composers requires more space than this short introduction, but one fact deserves repeating in all contexts: of his "listed" compositions, now numbering well over one hundred, roughly three quarters have been given their world premiere outside Spain! This has been the case ever since the now distant times of Darmstadt (in the 60s), where Bruno Maderna and Pierre Boulez premiered Polar and Modulos respectively, and their spatial distribution has extended to the Americas and Japan.
The reasons for this worldwide acclaim are manifold, one vital factor being, no doubt, the quality of the music so prolifically composed in all genres and modes, always ahead of contemporary developments and integrated into a remarkably personal idiom. Another striking aspect is the universality of De Pablo's techniques and content, mirroring his profound knowledge, acquired through vo-racious reading, of all the fine arts, the history of all times and cultures, anthropology, ethnomusicology. His compositions, as well as his extensive lectures and writings, exhibit encyclopedic knowledge of the world's musical cultures through the ages. This basically self-taught background (if we exclude a law degree from University of Madrid), explains why Luis de Pablo can offer a full panorama of this century's musical landscapes, from chamber works for groups of individuals to the grand opera stage (where his two recent full-length operas have justifiably captivated audiences), but also why he is the mentor of so many younger generations, from his years in Buffalo and Ottawa to the Royal Conservatory of Madrid, with numerous courses and a flood of writings including, above all, the Aproximacion a una estética de la musica contemporanea, a treatise on his compositional language published in 1968. Luis de Pablo is married to the well-known painter Marta Cardenas.