Pablo Sorozábal
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1897-09-18
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Pablo Sorozábal Pablo Sorozábal Pablo Sorozábal Pablo Sorozábal

Biography

Pablo Sorozábal Mariezcurrena (September 18, 1897—December 26, 1988) was a Basque-Spanish composer. Trained in San Sebastián, Madrid and Leipzig; then in Berlin, where he preferred Friedrich Koch as composition teacher to Arnold Schönberg, whose theories he disliked. It was in Germany ...

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Biography

Pablo Sorozábal Mariezcurrena (September 18, 1897—December 26, 1988) was a Basque-Spanish composer.

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Federico Chueca
La Gran Via: Tango de la menagilda
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La Gran Via: Tango de la menagilda La Gran Via: Tango de la menagilda La Gran Via: Tango de la menagilda La Gran Via: Tango de la menagilda
Gerónimo Giménez
La boda de Luis Alonso: Intermezzo
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La boda de Luis Alonso: Intermezzo La boda de Luis Alonso: Intermezzo La boda de Luis Alonso: Intermezzo La boda de Luis Alonso: Intermezzo
Pablo Sorozábal
No Puede Ser
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No Puede Ser No Puede Ser No Puede Ser No Puede Ser
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Biography

Pablo Sorozábal Mariezcurrena (September 18, 1897—December 26, 1988) was a Basque-Spanish composer.

Trained in San Sebastián, Madrid and Leipzig; then in Berlin, where he preferred Friedrich Koch as composition teacher to Arnold Schönberg, whose theories he disliked. It was in Germany that he made his conducting debut, and the rostrum remained at the centre of his working life. His Leipzig concert works include the choral Suite vasca (1923); Dos apuntes Vascos (1925) and Symphonic Variations on a Basque Theme (1927); of later works the funeral march Gernika for chorus and orchestra (1966) is outstanding. The Siete Lieder, 1929 settings of Heinrich Heine for mezzo-soprano and orchestra, are perhaps the finest works he produced in Germany. Two short but powerful compositions for chorus and orchestra, Maite (‘Our Lady’, from the 1946 film Jai-Alai) and ¡Ay, tierra vasca! (1956) retain their place in the hearts of his Basque countrymen.

Katiuska (1931) was his stage debut, and the twenty or so zarzuelas which followed combine lyric fire and inimitable orchestration with an unfailing sense of theatre. Best-loved are his classic madrileño comedy La del manojo de rosas (1934) and the “nautical romance” set on the Atlantic Coast La tabernera del puerto of 1936.

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