Luis Alberto Campos

Curriculum
Presentation

Catalogue of compositions (selection)

In this English version I am selecting pieces that might interest non hispanic musicians. For my complete works, see the Spanish version in this website. Of course, if you have a problem with a score, please write me: luisalcampos@hotmail.com . Anche parlo italiano e adoro l'Italia.

IMPORTANT: This catalogue has been completed in August 2024 and contains the final versions of all of my works, many of which have been considerably altered from the original compositions. For this reason I would consider unacceptable the interpretation of any other scores that differ from the versions written here in PDF (prior to 2003). I would appreciate being advised of the performance of any of my works, especially those that have not yet been performed.

RELIGIOUS MUSIC

• A la hora nona (At the ninth hour). 4 mixed voices a capella (1997). A song with chorus and verses, as a result of a long night's work. Very appropriate for Good Friday. It is a very simple and sincere piece that needs to be sung more with your heart rather than your voice and which I have a feeling will be my most performed composition. As a matter of fact, I know that many choirs in Spain and America have already sung it. pdf midi encore mp3 Youtube
• Aleluya «Cuán manso y amoroso». 7 v.m. (2003) Instead of a biblical verse, it has the last verse of St. John of the Cross' “Canciones del Alma” (Songs of the Soul). This poem can be seen on a plaque at the entrance of the church where the saint is buried in Segovia. It was performed for the first time in 2003 for the wedding of my friend Alice Wagner's daughter, Elisa Cazorla Wagner and David Molina, to whom the piece is dedicated. To perform this piece it is advisable to place the women and the low voices facing each other like two choirs. In 2009 I wrote each one of these versions, for women's voices and for low voices, that have not yet been performed in public. pdf midi encore
  • 1. Low voices. pdf. midi encore
  • 2. Women's voices. pdf. midi encore
• Annuntiatio. 8 mixed voices a capella (1996) Motet for Advent and Christmas. Marek Klein, conductor of the Coral Gregoriana of Kosice (Slovakia) asked me to write a version of my Spanish motet Anunciación with the original text in Latin and so I did. In 2013 he performed it for the first time with the title Annuntiatio. pdf midi encore mp3
• Ave Maria. 4 mixed voices a capella (1996-2003). Motet. Performed for the first time in December 2009 by the University of Málaga's Choir conducted at that time by my friend Nancho Álvarez. I have found this video on the internet. Youtube pdf midi encore
• Ave Maria (low voices). 4 men's voices a capella (2013). Motet. It is a variation of the previous one with a different introduction and finale. Not performed yet. pdf midi encore
• Corpus Christi. Harmonization a capella of four Gregorian chants related to the Eucharist. They are four independant pieces, although they can be sung together.
  • 1. Adoro te devote. 4 mixed voices (2005). This is the second version, after removing the first version from my catalogue. pdf midi encore
  • 2. Pange lingua (Mozarabic or "more Hispanico"). 5 mixed voices (2005) I finished it the same day that Pope Benedict XVI was elected, to whom this piece is dedicated. I used medieval and random composing procedures freely. So for the first time, I gave up being descriptive, even in an abstract way. pdf midi encore
  • 3. Ave verum. 4 mixed voices (2005). Even if the text is not too poetic, the music is delightful. I have the link to a Croatian choir that has performed it beautifully:Youtube pdf midi encore
  • 4. Pange lingua (Roman). 6 mixed voices (2004) This is my favorite Gregorian chant which brings back many memories of my life because it is the hymn of my parish which is called Corpus Christi. It is very important for the main melody to stand out in the fourth verse (“Verbum caro, panem verum”) that passes from one voice to another. Likewise, the fifth verse (“Tantum ergo”) should be marked with great solemnity. If the conductor so wishes, the four men's voices of this verse can be sung by a quartet of soloists. It would be less impressive but it might be interesting. pdf midi encore
• Éxtasis de santa Teresa. 4-6 mixed voices a capella (2015) Madrigal. After years of not composing anything, I decided to write this song right after a trip to Rome when I visited the church where one can see Bernini's sculpture, of the Ecstasy of Saint Teresa. I haven't used the text in which Saint Teresa explains her mystic experience, but rather St. John of the Cross' poem “Llama de amor viva” (Living flame of love), very similar in context that reflects perfectly what the sculpture conveys. I used a verse of this same poem several years ago, when I composed my “Aleluya. Cuán manso y amoroso”. So I have used the same music in two verses. I dedicated this song to my dear friend José María García, with whom I travelled on this unforgettable trip. It was performed for the first time in November 2015, during the 500th anniversary of St. Teresa of Avila's' birth. pdf midi encore
• Hodie Christus natus est. 4 mixed voices a capella. (1997) Entrance song for Christmas Eve, composed in an archaic style. pdf midi encore
• La Gracia del Señor. Solo for contralto and 5 mixed voices. (2003). This is a harmonization of the famous song Amazing Grace , with the lyrics in Spanish by Joaquín de Carranza, who was my teacher and also a member of my choir for a few years. It can also be sung in English. pdf midi encore
• Nana de la azucena. (Lily Lullaby) Soprano soloist and piano. (1997). This song is based on a poem that I had written many years ago and which my younger students were going to use to make a Christmas card. The final version was made and recorded in 2000, along with a written accompaniment. At Christmas of 2007, the choral version was performed for the first time (soloist, choir humming and piano). It can also be sung a capella (so it has been sung in several occasions). pdf midi encore
• O salutaris 1. 5 v.m. a capella (1992). 5 mixed voices a capella (1992) Motet composed for the wedding of a fellow choir member of Carmina Nova, Maria Carmen González and Carlos Álvarez, which was celebrated in the San Estanislao de Kostka School chapel. pdf midi encore
• O salutaris 2. 4 men's voices (1996). It is a variation of the previous motet with some changes regarding the original version. pdf midi encore
• O salutaris 3. 4 women's voices (2005). It is a variation of the previous motet with some changes regarding the original version. pdf midi encore
• Padre nuestro (Our Father). 4 mixed voices a capella or accompanied (1998). Most congregations in Spain do not sing at Mass so this is the sung version of the Our Father, not to replace it, because the choir cannot take this important prayer away from them. I thought it was a way to make singing and praying compatible. pdf midi encore
• Panem angelorum. 4 mixed voices and 4 soloists a capella or accompanied (1999). Composed in the same style as Taizé, the choir is continually repeating the chorus, while hearing the solo verses. In the liturgy, it is appropriate for Communion. pdf midi encore
• Para Taizé. (For Taizé). I wrote almost all of this series after returning from my stay at the French community of Taizé, whose music you are surely familiar with. These meditative songs are meant to be sung repeatedly and some can be sung before the Gospel or Aleluya. A few have both Latin and Spanish versions.
  • 1. Beati qui audiunt (Blessed is he who hears). 4 mixed voices. Its text is taken from St. Luke's Gospel (2006). pdf midi encore
  • 2. Christus factus est. 4 v.m. (2006). The text is part of the gradual from St. Paul's Letter to the Philippians. It has it's own solos in another score. pdf midi encore
  • 3. Christus factus est (soli). 4 v.m. (2006). As in Taizé songs, the soloist sings over the choir. pdf midi encore
  • 4. Domine, tu omnia scis (Lord, you know everything). 4 mixed voices (2006). From the Gospel according to St. John. These are the words that Peter answered our Lord after He asked him three times if he loved Him. I have written a different score for this same text in Spanish and Italian (“Señor tú lo sabes todo”). pdf midi encore
  • 5. Heureux. 4 mixed voices (2006) A French version of Beati qui audiunt. pdf midi encore
  • 6. Omnis qui credit in Iesum (All that who believes in Jesus). 4 mixed voices (2006). Taken from the Gospel according to St. John. pdf midi encore
  • 7. Populus Dei (God's people). 4 mixed voices (2006). This is quite appropriate as an entrance song for Mass or an ecumenical service. The text is from St. Paul. In our parish it is sung, once in Latin and then in Spanish. pdf midi encore
  • 8. Señor, tú lo sabes todo (Lord, you know everything). 4 mixed voices (2006) From the Gospel according to St. John, those are the words that Peter answered our Lord after being asked three times if he loved Him. A small group of our choir was very lucky to sing this song at the Vatican, in the catacomb where St. Peter was first buried. I used this same text, in Latin, although with different music (“Domine, tu omnia scis”). pdf midi encore
  • 9. Signore, tu sai ogni cosa (Lord, you know everything). 4 mixed voices (2006). This is the Italian version of the previous piece. pdf midi encore
• Planctus Beatae Mariae Virginis (Stabat Mater) 1. 4-6 mixed voices, a capella (1994-2009) The first version was sung in 1994 for a special Mass. It was later slightly revised and extended to the current version, which was sung for the first time at the Corpus Christi Parish in Holy Week 2015. On this occasion the translated verses were read, two at a time, and then sung. pdf midi encore mp3
• Planctus 2. 4 mixed voices a capella (1997). Composition with shorter and more simple verses than the previous piece. pdf midi encore
• Prayer of Thanksgiving. 4 mixed voices, a capella (2003). This is the English version of my Acción de gracias. It was translated to English thanks to Elizabeth de la Croix-Vaubois. pdf midi encore
• ¿Qué niño es éste? (What child is this?). 4 mixed voices and mezzo soloist (2004). Inspired by the famous song Greensleeves. Performed for the first time at Christmas of 2004 and revised in 2009. For those choirs that do not have a contralto soloist, I would recommend performing it in a higher key. I have used modal changes from the original melody, rather than the tonal system that is usually heard. pdf midi encore
• Shemá, Israel. 4 mixed voices. Motet. From the Book of Deutoronomy, which is found in the homes of all those who belong to the Neocatechumenal Way, also known in Spain as the “Kikos”. pdf midi encore mp3
• Tres villancicos pintorescos (Three Picturesque Christmas Carols). My intention was to paint traditional scenes of a crèche from another point of view, getting away from clichés and making the characters more lively, less like figurines, less of a painting and less like statues. The trilogy was presented at the 1st edition of the Christmas Carol Composition Competition, sponsored by the “Fundación Caja de Granada” where it won the 1st prize. This piece is dedicated, in a friendly way, to all those who criticize Christmas, not because I agree with them but rather because I feel sorry for them.
  • I. Forasteros de honor (Worthy outsiders). 5 mixed voices a capella (1993). At that time, it was common to hear about illegal immigrants getting off small boats and landing on shore. In a city like Malaga it is impossible not to see that there are two types of foreigners. pdf midi encore
  • II. Misterioso establo (Mysterious cowshed). 4 mixed voices and soloist, a capella (1993). The “barroque aftertaste” to which I refer to in the subtitle isn't about the music, but about the text. It makes a greater impression if the soloists who sing the Gloria are not visible to the audience, or at least at a distance from the choir. pdf midi encore
  • III. Reyes del desierto (Kings of the desert). 7 v.m. a capella (1989). 7 mixed voices a capella (1989). This is my first choral composition. pdf midi encore Youtube

SECULAR MUSIC

• A don Quijote (To Don Quixote). 4 mixed voices, a capella (2005). It is the first of three epitaphs that appear in the second part of this brilliant novel by Cervantes. I liked the poem so much that although my song could be compared to Halfter's “Tres Epitafios”, I chose to take that risk. pdf midi encore mp3
• A la vida (To life). 3 women's voices a capella (2007) Two poems written by my poet friend, Alice Wagner, inspired the text. The song is full of optimism and that is what the singers must convey. It was revised in 2013 for the first performance. pdf midi encore
• Como el mar (As the sea). 4-8 mixed voices, a capella (2006). Since it was composed in the madrigal style of Monteverdi, of whom I am a great admirer, I must consider it a madrigal. In it you will see the influence of Whitacre and Lauridsen with their accumulation of sounds. From the moment I read Paquita Moreno Herrero's poem, I was captivated. Therefore, I decided to describe its content and the images that I have of the Mediterranean Sea; its waves on the shore; its extreme depth; its ripples across the surface and growing higher; as well as its stormy moments, foaming on the crest of the waves and crashing against the rocks. The sea's embrace and its calm moments at dusk are indescribable. In 2007 this long piece, of which I am so proud, won the 3rd prize in the VIII Choral Composition Competition Ciudad de Getafe. It was performed for the first time in the Modern Art Centre in Malaga, on October 2007 in a concert titled Music for Poetry where 14 of my secular compositions were sung. pdf midi encore mp3
• Divertimento. 4-7 mixed voices (2004) Vocal suite. The origin of this musical divertimento, without a text, is found in my piano piece Carillones (Carillons), not available in encore. It was performed for the first time in January 2009 in the XV Contemporary Music Season in Malaga. pdf midi encore
• No era nadie (It was not anyone). 8 mixed voices a capella (1990). This song was created under the spell of Bulgarian voices and the enchantment of a kaleidoscope bought in a hippy market stall. There is no poet that I admire more than Juan Ramón Jiménez, although this poem is not one of my favorites. pdf midi encore mp3