ABSTRACT
On the one hand, Alberto Iglesias (b. 1955) has composed numerous scores for films not only by such prominent Spanish directors as Pedro Almodóvar, Julio Médem, Iciar Bollaín, and Isabel Coixet but also for such international directors as Oliver Stone, John Malkovich, Steven Soderbergh, and Ridley Scott. On the other hand, he has maintained a parallel career in the world of the concert hall. His much-acclaimed works for ballets, orchestras, and chamber ensembles are based on an eclectic style that combines an atonal avant-garde aesthetic with touches of minimalism and post-minimalism; all of it is physical music, driven by strong descriptive elements. Featuring extensive interviews with the composer, this essay explores what Iglesias calls his catalogue of ‘private’ music.
