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Antonio Vivaldi va nàixer el 4 de març de 1678 a Venècia i va morir el 28 de juliol de 1741 a Viena, va ser un compositor, violinista, impresario, professor i sacerdot catòlic venecià del Barroc. Era sobrenomenat Il prete rosso («El capellà roig») per ser sacerdot i pèl-roig. Se'l considera un dels més grans compositors barrocs, la seua influència durant la seua vida es va estendre per tota Europa i va ser fonamental en el desenvolupament de la música instrumental de Johann Sebastian Bach. El seu mestratge es reflecteix a haver consolidat el gènere del concert, el més important de la seua època.

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Vivaldi - Las Cuatro Estaciones (Completa) Primavera, Verano, Otoño, Invierno, Música Clásica Violin

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MusicaAntigua.com - Comunidad de Música Antigua. Medieval, Renacimiento, Barroca, Polifonía, Sacra, Profana, Religiosa

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Realmente se llamaba Antonio Lucio Vivaldi, y fue en la ciudad de Venecia donde nació aunque no se tiene certeza de la fecha exacta del nacimiento, pero se cree que fue el 4 de marzo de 1678.

A Antonio Vivaldi se le conoce con el sobrenombre de il Prete Rosso (El Cura Rojo) debido a que era pelirrojo y cura de la iglesia.

Vivaldi sufrió de asma. Muchas veces tuvo que abandonar cuando oficiaba misa debido a sus frecuentes ataques.

De hecho en 1737 lo acusan de que es un sacerdote que nunca da misa a lo que Vivaldi responde lo siguiente en una carta dirigida a Bentivoglio:

" No he dicho misa por espacio de 25 años y no tengo intención de volver a hacerlo, no por causa de prohibición u ordenanza alguna, sino por mi propia voluntad, a causa de una enfermedad que he sufrido desde la infancia y que todavía me atormenta.

Después de haber sido ordenado sacerdote, dije misa durante un año, pero posteriormente decidí no volver a decirla por haber tenido en tres ocasiones que abandonar el altar antes de concluir el sacrificio a causa de mi enfermedad.

Por esta razón vivo casi siempre en interiores y nunca salgo si no es en góndola o carruaje, ya que no puedo caminar sin sentir dolor y opresión en el pecho.

Ningún caballero me ha invitado a ir a su casa, ni siquiera nuestro príncipe, porque todos conocen mi debilidad.

Puedo salir a pasear después de la cena, pero nunca voy a pie. Ésta es la causa de que nunca diga misa"

Cuando el Cardenal lo excusó de oficiar más misas a causa del asma, Vivaldi consiguió un trabajo como director musical en una escuela para niñas huérfanas.

Uno de sus trabajos musicales, Arsilda regina di Ponto, fue en un principio censurado debido a un supuesto contenido lésbico.

Vivaldi tuvo varios amoríos, uno de los cuales fue con la cantante Anna Giraud.

El compositor italiano compuso la música de bodas del rey Luis XV de Francia.

El Emperador austriaco Carlos VI gustaba tanto de la música de Vivaldi que lo nombró caballero.

Vivaldi compuso más de quinientos conciertos, aparte de óperas y música sacra.

Johann Sebastian Bach admiraba tanto la música de Vivaldi que transcribió varias de sus obras.

Al morir Vivaldi en 1741 su música quedó en la más completa oscuridad.

Fueron los estudiosos de Bach en el siglo XIX, los que oyeron por primera vez de Vivaldi, ésto gracias a los antiguos manuscritos donde Bach había transcrito los conciertos de alguien llamado A.L.Vivaldi.

Se sabía quien era Bach, ¿pero quién era Vivaldi? Por fortuna se realizó una búsqueda, lo que dio como resultado el rescate de Vivaldi del olvido.

En el funeral de Vivaldi, celebrado en la catedral de Viena, cantaron los niños del coro de la catedral, entre los que se encontraba el futuro compositor Joseph Haydn.

Para finalizar y aunque todo el mundo sabe, Vivaldi compuso Las Cuatro Estaciones, "Le Quattro Stagioni", (The Four Seasons) pequeñas historias musicalizadas de una manera única.

Sus cuatro estaciones son un homenaje musical al mundo y a la vida.

Os dejamos esta maravilla...

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Curiosidades sobre Antonio Vivaldi, o mejor dicho Antonio Lucio Vivaldi - MusicaAntigua.com

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Realmente se llamaba Antonio Lucio Vivaldi, y fue en la ciudad de Venecia donde nació aunque no se tiene certeza de la fecha exacta del nacimiento, pero se cree que fue el 4 de marzo de 1678.

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Wilhelm Richard Wagner va nàixer a Leipzig, Regne de Saxònia, Confederació del Rin el 22 de maig de 1813 i va morir en Regne d'Itàlia el 13 de febrer de 1883. Va ser un compositor, director d'orquestra, poeta, assagista, dramaturg i teòric musical alemany del Romanticisme. Destaquen principalment les seues òperes (qualificades com a «drames musicals» pel propi compositor) en les quals, a diferència d'altres compositors, va assumir també el llibret i l'escenografia.

Va fonamentar la seua reputació com a compositor en obres com L'holandés errant i Tannhäuser, que seguien la tradició romàntica de Weber i Meyerbeer.

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La Cabalgata de las Valkirias - Richard Wagner

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Anécdotas sobre Wagner - Wagner fuente de curiosidades

ANÉCDOTAS SOBRE WAGNER - WAGNER FUENTE DE CURIOSIDADES

Introducción

Al tema de las anécdotas sobre Wagner le podríamos dedicar páginas y páginas, porque hay infinidad. Anécdotas y frases curiosas referidas a Richard Wagner las encontramos abundantemente. Unas son ciertas, otras creo que son más fruto de la imaginación que otra cosa. Hoy vamos a destacar dos.

Anécdotas sobre Wagner

Me puede hacer un resúmen?

La música de Wagner pronto se empezó a extender por todo el mundo. A uno de los sitios que llegó y despertó mucha curiosidad fue a Italia. En aquel momento eran tres las editoriales que estaban en competencia para captar más repertorios: Ricordi, Sonzogno y Lucca, mucho más modesta que las dos anteriores.

La Casa Lucca pasó a manos de la hija del fundador, Giovannina Lucca. Era buena profesional pero sus conocimientos musicales eran bastante limitados. Pensó que si lograba hacerse con la producción de Wagner y lograr introducirla en Italia, habría conseguido un triunfo más que notable. Así pues, se fue a ver a Wagner a Bayreuth, y tuvo la osadía de pedirle que hiciera una Tetralogía reducida que se pudiera ver en una sola noche. Recordemos que son unas diecisiete horas de música.

Me hubiera gustado ver la cara de Wagner y lo que le diría. De todos modos, esto de un resúmen se lo he oído decir a más de uno, o sea que no critiquemos tanto a la editora.

A mi Wagner me encanta

Esa es otra frase que parece que todo aficionado ( o no tan aficionado) tenga que decir sí o sí. Pasa algo si alguien dice que " A mi Wagner me cansa, o no soy capaz de escuchar una ópera entera?", pues probablemente no. Veamos lo que le pasó a un político español de la década de 1980. Tuvo lugar en Barcelona. Se pensó en inaugurar la temporada 1981-1982 con Lohengrin. A un alto representante político se le preguntó qué le parecía, o algo así. Su respuesta fue: "Yo soy un gran wagneriano, y me ha interesado mucho que inauguraran con Lohengrin, porque todavía no la conocía"

Pues señor mío, Lohengrin es de primero de wagnerismo.

Para unir estas dos anécdotas sobre Wagner vamos a escuchar el racconto de Lohengrin, In fernem land, pero cantado en italiano por Mario del Monaco. Estas traducciones, en Italia, no eran muy extrañas, por la red se encuentran otros ejemplos.

Quizás le interese las siguientes entradas relacionadas con Anécdotas sobre Wagner - Wagner fuente de curiosidades de la opera .net:

Posts relacionados de ópera:

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Anécdotas sobre Wagner - Wagner fuente de curiosidades

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Artículo dedicado a dos anécdotas sobre Wagner. Richard Wagner ha sido fuente de muchas curiosidades y frases divertidas

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Johann Sebastian Bach va nàixer el 21 de març en 1685 i va morir el 28 de juliol en 1750, va ser un compositor, músic, director d'orquestra, mestre de capella, cantor i professor alemany del període barroc.

Va ser el membre més important d'una de les famílies de músics més destacades de la història, amb més de 35 compositors famosos: la família Bach. Va tindre una gran fama com a organista i clavecinista en tota Europa pel seu gran tècnica i capacitat d'improvisar música al teclat. A més de l'òrgan i del clavecí, tocava el violí i la viola de gamba.

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Aria de Bach - Aria para la cuerda de sol - Johann Sebastian Bach

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Curiosidades de Johann Sebastian Bach - Xativa Musical Tienda

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Johann Sebastian Bach nació en Alemania, en 1685, rodeado de músicos e intérpretes. Muchos lo consideran como el mejor compositor de todos los tiempos, ya que se caracterizaba por su virtuosismo en instrumentos como el violín, la viola, el clavecín y el órgano. ¡A continuación os dejamos algunas curiosidades sobre su vida! Nunca escribió una…

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John Towner Williams va nàixer en Floral Park, Nova York el 8 de febrer de 1932. És un compositor, director d'orquestra, pianista i trombonista estatunidenc. Considerat un dels compositors més prolífics de bandes sonores de la història del cinema, ha compost algunes de les més famoses i recognoscibles de tots els temps com: Harry Potter, Star Wars, Tauró, Atrapa'm si pots, E.T., l'extraterrestre, Superman, Indiana Jones, Parc Juràsic, La llista de Schindler, El colós en flames, L'aventura del Posidó i Home Alone.

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Star Wars- The Imperial March (Darth Vader's Theme)

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Soho - Revista Para Hombres Con Las Mujeres Más Lindas.

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3. Los deportes también son lo suyo. John Williams es el autor de la música que acompañó cuatro versiones de los Juegos Olímpicos: Los Ángeles 1984, Seúl 1988, Atlanta 1996 y Salt Lake City 2002.

4. Tres de sus composiciones hacen parte del Top 25 de las mejores bandas sonoras del cine: Star Wars, en el primer puesto; Tiburón, en el sexto y ET. El extraterrestre en el puesto 14.
También le puede interesar: Las mejores películas de ciencia ficción sobre el futuro
5. También pasó por las fuerzas militares. En 1952 arregló y dirigió la música de la Fuerza Aérea de EE.UU.

6. Nunca ha visto Star Wars. Aunque es una de sus canciones más exitosas el compositor ha asegurado que el ritmo de trabajo no le ha dado tiempo de ver la película.

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Lo que usted no sabía de John Williams (el de la música de Star Wars)

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No creerá que, aunque su mayor éxito fue la música de Star Wars, nunca ha visto la película. También debe saber que gran parte del éxito de la película Tiburón se debe a la genialidad que este hombre hizo con su música para llenarlo de miedo. Conozca todos los datos.

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Hans Florian Zimmer va nàixer a Frankfurt el 12 de setembre de 1957. És un compositor de bandes sonores alemany,1​ que es caracteritza per la integració de música electrònica i arranjaments simfònic-orquestrals. Ha sigut creditor a reconeixements cinematogràfics com els Globus d'or, BAFTA, Emmy, Saturn, Grammy, a més de dos Óscar de l'Acadèmia pel seu treball en El rei lleó (1994) i Dune (2021), premis als quals ha sigut nominat en altres 10 ocasions des de 1988 amb Rain man. En l'actualitat és considerat un dels compositors més excel·lents de Hollywood, sobrenomenat per gran part de la crítica com «l'omnipresent Zimmer» per les seues nombroses aparicions, ja siga com a compositor principal o com a col·laborador d'algun dels seus múltiples deixebles.

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Hans Zimmer - Time (Inception - Live in Prague)

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Este mes de diciembre celebramos el sonido de Hans Zimmer en nuestro nuevo ciclo titulado apropiadamente The Sound of Hans Zimmer. Cuando uno lee el nombre del célebre compositor alemán lo que viene a la mente son sus composiciones majestuosas, melódicas y populares para El rey león, la saga Piratas del Caribe, Interstellar, Gladiator, Origen, la trilogía del Caballero Oscuro y Dunkirk, entre decenas de filmes más. Pero el ganador de cuatro Grammys, dos Globos de Oro y un Oscar tiene docenas de composiciones más que vale la pena descubrirlas. Aquí tienes 16.

Desde los años 1980 Hans Zimmer ha revolucionado el mundo de la banda sonora.

Y no lo ha hecho una vez. Ni dos. Ni tres. Lo ha hecho muchas.

Es algo que podría definirse como la "ventaja" Zimmer (esa innovación constante). Pero cada "ventaja" tiene su "inconveniente".

El "inconveniente" Zimmer es este: cada vez que el músico de Interstellar ha desafiado el mundo convencional de las bandas sonoras con nuevos sonidos, una retahíla de músicos, a veces de su propia iniciativa, lo han copiado hasta la extenuación.

Así que con cada creación, con cada repetición, Zimmer se ha visto obligado a renovarse. Y esa es la "ventaja" Zimmer.

El Zimmer de los años 80 se caracterizó por el uso practicamente exclusivo de los sintetizadores; ese empleo se amplió en los 90 con orquestaciones más elaboradas; y con el nuevo siglo, Hans Zimmer se ha convertido en uno de los más aclamados y reclamados compositores de cine en todo el mundo.

Por ejemplo, en 2020 ha compuesto las partituras de Sin tiempo para morir (su primer Bond), Top Gun: Maverick, Hillbilly Elegy (su nueva colaboración con Ron Howard), Dune, Bob Esponja: Un héroe al rescate y Wonder Woman 1984.

Pero quienes se limiten a las composiciones más famosas del autor de maravillas como El código DaVinci o Paseando a Miss Daisy, pierden la oportunidad de descubrir al otro Zimmer, más intimista, a veces más juguetón y en ocasiones tanto o más espectacular aunque para títulos hoy más olvidados.

No incluiremos aquí el tema clásico de The Buggles Video Killed the Radio Star en el que debutó en faceta de productor (como genio incipiente del uso de sintetizadores que fue):

O cuando tocó en directo con Mecano en un concierto en Segovia:

Aquí nos vamos a centrar en 16 temas que os abrirán una nueva puerta al mundo de Hans Zimmer para quienes quieran ir algo más allá de lo habitual.

Desde su ya incipiente amor por sonidos africanos (Un mundo aparte) hasta melodías de un melancolismo emotivo (A propósito de Henry), pasando por temas de acción melódicos (lo de Black Rain, su gran obra maestra para el género, y hasta Dos pájaros a tiro es... perfección total), de un suspense de lo más original (Paperhouse o De repente un extraño), de un intimismo que pone la piel de gallina (El juramento o El hombre del tiempo, una de sus obras cumbres) y, claro está, puro espectáculo (Lágrimas del sol), con sintetizador, con orquesta o con ambos.

Aquí tienes las 16 bandas sonoras que quizás no conocías de Hans Zimmer.

UN MUNDO APARTE | A WORLD APART, 1988

LA CASA DE PAPEL | PAPERHOUSE, 1988

DOS PÁJAROS A TIRO | BIRD ON A WIRE, 1990

MATRIMONIO DE CONVENIENCIA | GREEN CARD, 1990

TIEMPO DE IRA | FOOLS OF FORTUNE, 1990

A PROPÓSITO DE HENRY | REGARDING HENRY, 1991

DE REPENTE, UN EXTRAÑO | PACIFIC HEIGHTS, 1990

LA FUERZA DE LA ILUSIÓN | RADIO FLYER, 1992

NUEVE MESES | NINE MONTHS, 1995

EL JURAMENTO | THE PLEDGE, 2001

LÁGRIMAS DEL SOL | TEARS OF THE SUN, 2003

EL REY ARTURO | KING ARTHUR, 2004

EL HOMBRE DEL TIEMPO | WEATHER MAN, 2005
CICLO THE SOUND OF HANS ZIMMER: INFORMACIÓN Y ENTRADAS

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16 temas que (quizás) no sabías eran de Hans Zimmer

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La sala de cine Phenomena abrió sus puertas el 19 de diciembre de 2014. Un cine como los de antes y dotado con la última tecnología en imagen y sonido. Por su pantalla han pasado desde grandes clásicos hasta blockbusters contemporáneos, films inéditos o los estrenos más recientes.

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Nascut a Kansas City, Missouri (els Estats Units), Basil Poledouris va tindre dos influències que ho van conduir cap a la música: la primera va ser el compositor hongarés Miklós Rózsa, conegut per les seues bandes sonores de pel·lícules (Quo vadis?, Ben-Hur i El Cid, entre altres) i la segona va ser la seua ascendència ortodoxa grega. Poledouris es va criar a l'església, i solia asseure's en els servicis captivat pels sons del cor. Va començar a rebre classes de piano amb set anys i finalment es va matricular en la Universitat del Sud de Califòrnia per a estudiar cinema i música. Nombrosos curts cinematogràfics en els quals va participar encara poden ser trobats en els arxius de la universitat. Allí va conéixer als directors John Milius i Randal Kleiser, amb els quals més tard va acabar col·laborant. En 1985 va fer la banda sonora dels senyors de l'acer (*Flesh & Blood), del director Paul Verhoeven, que va significar la primera trobada d'una productiva col·laboració posterior.

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John Williams & Wiener Philharmoniker – "Main Title" from "Star Wars: A New Hope"

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TAMBIÉN PUEDES LEER ESTA ENTREVISTA EN ESPAÑOL!
Basil Poledouris passed away in November 2006. For film music aficionados born or growing up during the eighties, one of the greatest composers. And for many other people. This man, with the same name of the great mouse detective, helped us to sail in life through family movies ( Lassie, Free Willy, The Jungle Book) or forbidden pleasures, which only time allowed us to see (RoboCop, Flesh+Blood, On Deadly Ground). He walked with us for quite a time. And that is something difficult to forget, even though a decade has already gone. In fact, it does not seem to be so much if we look behind. The best proof that when we say a composer's music will never leave us must be somehow true. Ten years, the blink of an eye. He remains here with us, for sure.

We remember him and, from AsturScore, we wish to pay tribute. If someone has forgotten, by any chance, we will help to remember. And, thus, we pay this humble tribute, remembering who he is for us and for our (his) friends, ten years later. Basil. . The only composer that has a nickname for all of us. Because he is ours. We cannot think of anything better to say.

JOHN FRIZZELL

Ten years ago I encountered a man who changed my life, because he changed the way I view life itself. I thought I was embarking on a musical tribute to celebrate the amazing work of one the truly great film composers which, but the events that unfolded, served a higher purpose.

The plan was to coordinate a live performance of excerpts from Basil's score to the film Conan in Ubeda during their film music festival. As the date of the performance approached, it became clear that Basil's health might make him unable to attend. Just days before we flew from Los Angeles, Basil announced he was going to be with us. On the flight, he didn't look well and I wondered to myself if this was a mistake. At the first rehearsal in Ubeda, Basil seemed a bit fidgety, uncomfortable, yet excited like something was brewing inside him. The music was sounding good, yet preparing it for the performance was clearly going to take some effective rehearsal time. And then Basil stood up and took the baton. All of a sudden, he filled with an energy and enthusiasm and exuberance that was unlike anything I had ever seen.

For the next five days, Basil was on! He was at every meal, every concert. We laughed, listened and contemplated our lives in music together and with the other composers and lovers of film music in attendance. All of us were truly in the moment, and despite the fragility of Basil's health, he spent that week as a man embracing everything life could give.

When we returned to Los Angeles, Basil's health declined and it wasn't long before our dear friend had moved on. But that week in Ubeda was the best lesson on how to live I have ever seen and at challenging times in my own life, I often reflect on how Basil faced and embraced his existence during those few days expressing not only the art of music, but most importantly living his own life as art.

LOLITA RITMANIS

I had the great honor of working as an orchestrator for Basil Poledouris on a handful of films, including Free Willy 2: The Adventure Home, On Deadly Ground, Under Siege 2: Dark Territory, Celtic Pride and Amanda to name a few. Basil, his engineer Tim Boyle, music editor Curtis Rousch, and legendary orchestrator Grieg McRitchie welcomed me into their circle in the mid 90's!

Basil always seemed to get to the heart of a scene in such a transparent and meaningful way. Basil evoked the best from people because he treated those who worked for him in a way that made us feel appreciated and respected. I have memories of sleeping on the couch in my music studio waiting for the FAX machine to spew out the next 8 measures of score that needed to be orchestrated for the next day session. Once Basil's sketch would come through I orchestrated that section, and then wait for the next 8 measures to come through! Often my work for him was very close to the final stretch of a project, immediately before the orchestra sessions.

I am grateful that I had the opportunity to be a part of this team for a few years prior to my moving on to focus on my own film composing career. I loved observing the way he spoke about his family. It was clear that family was everything to him.

EDWIN WENDLER

When I reflect on Basil Poledouris and his music, I am thinking bold statements, strong emotions, and thematic clarity. Whether he wrote for solo piano ( It's My Party) or for large orchestra with choir and synths ( The Hunt for Red October), you could always count on a firm hand guiding you through the narrative, making you feel genuine emotions in the process. Looking at photos of the composer, one can easily come to the conclusion that the man himself was robust and strong but of course, he had a tender, vulnerable side which others have written about very eloquently. From what I have heard, Basil not only cared about his family and friends but also about fans of his music, in a truly genuine way.

I'd like to point the reader to two scores which don't usually show up at the top of the list of Poledouris' accomplishments but which resonated with me, for different reasons: Poledouris had a deep passion for the sea and all maritime activities, which is what makes his score for Wind so special. It's a story about competitive sailing, and you can practically feel the sea breeze in your face while listening to this music. I also admire the composer's score for Serial Mom, one of the best comedy scores I have ever heard. It pays homage to the serial killer genre with some wonderfully playful, inspired writing.

I am glad to see that labels such as Varèse Sarabande and Intrada have recently been very active in releasing or re-releasing Poledouris' music. Going forward, I would love to see the revival of the currently dormant basil-poledouris.com which used to contain some insightful blurbs about specific projects, written by the composer himself.

All about Edwin Wendler in www.edwinwendler.com

LUKAS KENDALL

First I thought Basil Poledouris must be a 90-year-old immigrant classical composer who doesn't speak English. Then I saw "Basil Poledouris, Emmy winner for Lonesome Dove " on TV-and he looked like a car mechanic in a tuxedo. Then I met the real Basil Poledouris and he was the most genuine, down-to-earth, warm-hearted man you could imagine: a California surfer and suburban dad with a beautiful family who also happened to be an extraordinarily gifted composer.

Because he was so accessible personally (he was the only Basil Poledouris in the phone book) and wrote "our" kind of movie music-symphonic and melodic-he became a rooting interest for movie music fans, writing the kind of scores we wished we could write ourselves. His triumphs (like reuniting with Paul Verhoeven) were our triumphs. Slights against him were slights against us. We spent hundreds of dollars on his rare, out-of-print CDs and were happy to do so: playing a copy of an obscurity like Cherry 2000 made it all worth it.

Basil was, in many ways, the last of his kind. His greatest strength as an artist was scoring masculine subjects, from Conan to RoboCop -warriors, gladiators, soldiers, cowboys-evoking the emotions that the male characters were forbidden by society to have. Our culture has moved on not only to a different kind of movie music sound, but a different way of thinking about men and their feelings. This made Basil even more our hero, fighting the good fight to keep something alive that we grew up loving and needing. His music and his entire tradition touched us deeply. Basil, we miss you and love you.

Lukas Kendall is the founder of Film Score Monthly, a magazine, record label and website about movie music.

DIRK WICKENDEN
Basil Poledouris - Embracing Dichotomy
Over a three year span, film music lost some of its greatest proponents, from Michael Kamen (2003) to Elmer Bernstein, David Raksin and Jerry Goldsmith (all 2004) and Shirley Walker and our focus here, Basil Poledouris in 2006.

Basil's most enduring relationship was with John Milius. It is generally acknowledged that Conan the Barbarian was Basil's magnum opus. As Milius said in his eulogy for Basil, ' we were the brothers bear'. He did appear ursine, as in strong and he had a big heart and one could hear that in his music, especially for cues requiring delicate writing. But he did score muscular action so well. One could always count on him to turn out memorable themes in his scores. In the video documentary Basil Poledouris: His Life and Music, Basil told of when he was at his piano working out themes for Conan, he felt a presence walking behind him, some sense of a creature. Basil asked John Milius if he felt anything like that when he was writing the script and the response was ' oh yeahhhh! ' but Milius didn't go into details!

One of my personal favourites is Basil's score for On Deadly Ground, which gave Basil a chance to add uniqueness to the action score with the use of Inuit throat singers. Another of my favourites is Quigley Down Under, where the music encapsulates perfectly the lead character, the locale and the time period - as all good scores should.

There are certain film scores that one holds up as the greatest in cinema history. I would easily cite Conan in the same breath as Miklos Rozsa's Ben-Hur, not in terms of subject matter but in terms of the gravitas lent to the respective films, by the thoroughly researched and rendered scores.

Dirk Wickenden is a saxophonist, film music journalist, adviser to the Michael Kamen Estate and programme notes author for the Royal College of Music's Film Orchestra. His interviews and articles have appeared in Legend (the journal of the Goldsmith Film Music Society), Soundtrack: The Collector's Quarterly and also Film Score Monthly Online. A number of his older printed articles have been archived at www.runmovies.eu. Additionally, Dirk's short story collection Inside Outside My Head is available exclusively through Amazon.

GODWIN BORG

My first encounter with Basil's music was at a very tender age. As a little boy I had managed to sneak in the cinema and watch a few minutes of Conan the Barbarian until a cinema employee caught me and threw me out (since the film was rated AO and I was only 9), but those minutes were enough to be haunted by the music for the rest of my life. Basil has since then been my all-time favorite composer and Conan the Barbarian my favorite musical opus of all time.

For many years I tried to get in touch with Basil until one fine day he did get in touch with me himself after having heard from someone that I wanted to get to know him! That is how much he cared and how appreciative he was. In time, my favorite composer became a dear friend whom I will forever cherish and miss as much as family.

If Basil excelled at something more than music, that was his humanity, his kindness and genuine persona. Those who were blessed and lucky enough to have met him, been his friends, family or anyone close to him can confirm this. But if you never met him in person you still know Basil because his music was not only the voice of the films he scored but also the voice of his soul, kind and powerful, gentle and strong, noble and unique.

Basil you are always in our hearts. I love and miss you.

Godwin Borg was born in Malta in 1973. He has been active in music in various roles since the late 80s. In 2008 he founded Kronos Records, an independent music label specializing in Soundtracks, both vintage and contemporary ones. During the seven and a half years of activity Kronos Records has released over a hundred soundtracks on CD. In 2016 he launched Vulkan Records, which specializes in Metal music.

RAÚL MARTÍ

I met Basil Poledouris on Saturday April the 18th in 1998 in the Royal Albert Hall of London. John Barry conducted a concert that day and I knew beforehand that Basil would attend and that we would have the chance to talk, even if briefly. The day before, in Rare Discs, the shop of the twins Martin and Philip Masheter, I run into Richard Kraft, his agent, who was looking for a copy of Honor And Glory. As it happened to be, there was none in the shop, but I had brought one with me from Argentine.

During the interval, I went to the bar for a drink and run into Basil, in a tuxedo. I introduced myself. He was so kind... and even thanked me for the CD. We talked for some minutes and he asked which my favorite of his scores was. I replied immediately that Amerika. His face lit up and he told me I had a good taste.

At that moment his wife Bobbie and daughter Zoë approached us. Basil signed my Cherry 2000 ─Bobbie said that not even they had a copy of it─ and promised to send me back a dedicated copy Honor And Glory, which he did. We said goodbye and returned to our places in order to enjoy John's concert second part.

Basil was a wonderful composer and an excellent person. Basil was one of the greatest! Fortunately his work will remain for a long time.

Raúl Martí is an executive producer in Howlin' Wolf Records, where he has collaborated in the releases of Guillermo Guarechi's Music on Hold and Edwin Wendler's I Spit on Your Grave 3: Vengeance Is Mine.

MANUEL DÍAZ NODA

I am a belated fan of soundtracks. While I listened to an occasional CD during my childhood, it was not until my teens (14) that I was seduced by film music. One of the first soundtracks I purchased was The Hunt for Red October, by Basil Poledouris. Its power always fascinated me, to the same degree I was upset with its brief album release.

From that point on, Poledouris became one of my favorite composers and I started to collect some of his previous works, especially Conan the Barbarian and RoboCop, and to get all his new additions. I am particularly fond of his collaborations with John Milius and Paul Verhoeven (curiously enough, both of them alternated Poledouris with another giant, Jerry Goldsmith).

Both Conan the Barbarian and John Williams' Superman are the two scores which I hear more often. And they have not lost a bit of emotion. Another pillar for me as a fan is The Blue Lagoon, a score of masterful beauty and sensitivity. Poledouris was the composer for the open spaces and the epic. However, it was his intimate vein, full of tenderness and passion, but without sentimentalism, the one which seduced me.

Despite his great contributions to film music, unfortunately, he was underrated by the industry. I always thought it was not fair that the composer of The Big Wednesday, Amerika, Farewell to the King and Les Miserables was relegated to productions such as RoboCop 3, Under Siege 2: Dark Territory and Crocodile Dundee in Los Angeles, independently of the high quality of his work for these films.

Like many others, I lived his passing away as the loss of a relative, someone close who walked with me, and still does, in the important moments of my life.

GERMAN BARÓN

We will always remember that July night in which the great Basil Poledouris had a revelation (he called it an epiphany). Id est: discovering during those unforgettable days in Úbeda that his music was appreciated, cherished and loved by thousands of people and fans from all over the world. Time has gone by and we still love his music. That it was written with soul and heart could have something to do with it.

In times like these, in which most film music has been depersonalized, in which style and imagination have been replaced by a lack of inspiration, by an standardized sound and zero surprise, in which composers are forced to repeat what works (or what is thought to work) and in which a composer is no longer an artist but an spare part, it is worth looking back and seeing how things were a few years ago.

The time in which maestros reigned and different generations coexisted. That was the time for Poledouris. He had it all: a clear style, a strong personality, a talent for the image... He was the king of the Epic genre in the eighties and nineties, with immense works such as Conan the Barbarian, Flesh+Blood and a whole lot of films covering all genres and styles. He was also one of the first to suffer the changes and the new trends...

Although destiny, considering the bitter and cruel illness he had to go through, saved a nice, fair and deserved surprise for him: that unforgettable, magical and unique night that will live in our memory forever, as his music will do.

Germán Barón Borrás teaches Audiovisual Media. He composes music for shorts, is partner in organizing the Film Music Festival City of Úbeda, and is fan and crazy about soundtracks since he noticed them at an early age.

JUAN ARBONA

The first time I saw the name Basil Poledouris was in Conan the Barbarian, in a rainy Sunday afternoon at the now gone Nuevo Hispania Cinema in Palma de Mallorca. The 600 seats were almost sold out, except for the third row (150 pesetas of that time). Eventually, I decided to come in. What could I do in such a gray day? In any case, I felt it would be something special. After the spectacular credits, the village attack came and, then, the rest of this epic story. Great part of the experience was due to the impressive music, proving to be one of my most magical days as part of an audience.

I crossed paths with both names again 25 years later. This time in the mystical and wonderful Úbeda. I could not even believe it. I was about to greet in person one of my idols. I knew I would feel that magic lived long ago. Basil Poledouris was to conduct that magical score, which had shaped so many new fans to film music. I would not change that for anything. Especially, after learning about what he had gone through to be able to attend.

The night of the concert arrived. Every attendee with restrained emotion and a pounding heart. Moments before we start to hear voices roaring in the patio of Santiago's Hospital: "Basil, Basil, Basil." The roar gets bigger and bigger until the man himself appears on stage. Wild cheering. An immense recognition in such a short and unrepeatable moment of our lives.

I wish to think that, when he left this world, this magical night crossed his thoughts. A night he gifted to all of us, who were lucky enough to meet, respect and love him. A moment which will live forever in our hearts.

EPIC and MAGIC. This is his legacy.

Juan Arbona Comellas is the president of the Asociación Balear Amigos de las Bandas Sonoras ( ABABS). He has taken part in film music conferences, festivals and concerts in Valencia, Seville, Úbeda, Barcelona, Córdoba and London. He has collaborated in conferences with composers Enrique Escobar, José Sola y Joan Bibiloni. He has also delivered general conferences about movies and written in different media about film music composers.

ANTONIO PARDO

My old man told me about one Basil Poledouris, who wrote Conan the Barbarian. He said something like "It´s true, my son, but remember that it is not Conan all that shines"...

For years I had as a bedside book an extraordinary work called Crucial Classics: How to Enjoy the Best Music in the World where one can read something like Composers of a single work. In this chapter, Kenneth McLeish, the author, mentioned a few musicians whose reputation came endorsed by only one opus. I remember Albinioni and his well-known adagio in G minor, to name one of the best known. Just one?, I asked myself. Unbelievable!

Well, this happens quite frequently in classical music and we can extrapolate it, with no fear and in a similar way, to film music. Distinguished names such as Bill Conti, Lee Holdridge or Basil Poledouris himself are part of this group of composers that for the neophyte (not for the dilettante) will be always associated to a particular work of them.

Just doing a rough check, we may find such iconic compositions as Les Misérables, assigned to Poledouris after Grabriel Yared's score was rejected. Or the epic and lyrical Farewell to the King, paradigm of the sublime poledourian melody which, along The Blue Lagoon or Flesh+Blood, shows the capacity of the composer to connect with the viewer's emotions. A single work? How can we forget the red voices of his militarized The Hunt for Red October or the intimate It's My Party, perhaps his most subtle composition.

How can we forget...? I am now the one who, older and wiser, tells his old man "You see, now I can tell my children that Poledouris was and is much more than Conan."

RUBÉN FRANCO

Basil Poledouris. Or the composer who wrote from the bottom of his heart. The genius who injected feeling and emotion to his scores. Just listening to the adventures and misfortunes of three surfer friends through the years is a perfect example to picture him. Few first time composers may show off with such a master piece.

But there are several other examples. He gave emotion to Conan, showing us his love and grief for Valeria's loss. He gave feelings to RoboCop, in describing his anger and frustration for losing his family. He gave beauty and hope to the jungles of Borneo, for the brave King who came to be from a coward soldier. He gave love, savagery, epic, beauty and drama to a tumultuous, violent and dirty period in Flesh+Blood. He added emotion and bravado to the story of failure and success of the America's Cup. And he even lent emotion to the stone faced Steven Seagal in Under Siege 2: Dark Territory, with its family theme, or in On Deadly Ground, with its nature theme.

Basil Poledouris is one-of-a kind. He wrote with his heart and his music soaked through the screen to stay with us ( Conan the Barbarian is written in a universal language). Those who knew him well tell us about his gentleness and closeness, far from that image we have from those who work in Hollywood. He was well above of it. He was made of flesh and blood, and true feelings.

Thanks . You moved me as no one. Farewell to My King!

Rubén Franco is the co-founder of the web AsturScore, created in August of 2010, and president of the Asturias Association of Film Music. He has written articles in BSOSpirit and also collaborated in the International Film Music Festival City of Úbeda and in the International Film Music Festival Province of Córdoba. He also took part in the conferences (and concerts) organized by Oviedo FilmMusic Live!.

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Memories of Basil Poledouris - AsturScore

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TAMBIÉN PUEDES LEER ESTA ENTREVISTA EN ESPAÑOL! Basil Poledouris passed away in November 2006. For film music aficionados born or growing up during the eighties, one of the greatest composers. And for many other people. This man, with the same name of the great mouse detective, helped us to sail in life through family movies ...

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