Organization

Queridos/as todos/as:

En esta Memoria AIE 2018 se detallan las acciones y deberes, cumplidos y pendientes, de las cuentas, recaudaciones, repartos y movimientos realizados durante el año 2018, para mejorar la gestión de los derechos de los artistas. La administración y las personas, equipos de trabajo y colaboradores que conforman nuestra sociedad, dan cuenta de lo acontecido para que los socios y socias, después de analizar y contrastar los datos que en esta Memoria se ofrecen, puedan refrendar o reprobar las gestiones realizadas, y el público y las autoridades que tienen que observar el cumplimiento de los estatutos y compromisos adquiridos por AIE, puedan comprobar la veracidad, rectitud y transparencia de nuestra gestión.

En 2018 hemos navegado en un mar de turbulencias, vaivenes, declaraciones, juicios y reclamaciones, atendiendo también al movimiento legislativo, nacional e internacional, que ha sido continuo e intenso. En AIE hemos cubierto muchos frentes y trabajado muy duro para mantener la protección de los derechos y la legitimación de la gestión colectiva, ampliando la cobertura de los derechos de los artistas, en el ámbito digital y en el analógico y tradicional de lugares abiertos al público, en la comunicación pública de radios y televisiones, así como en la consolidación de la copia privada, recuperada en el año 2018.

TEXTOS LEGISLATIVOS IMPORTANTES

• Reforma de la ley de propiedad intelectual española y transposición de dos directivas.
• Directiva sobre Derecho de Autor en el Mercado Único Digital.
• Propuesta del GRULAC en la OMPI para la revisión de los derechos de autor y de los artistas en el Mercado Único Digital.
• Estatuto del Artista.

El Consejo de Administración de AIE ha tenido que debatir, resolver conflictos y mantener el pulso para no perder derechos y ganar posibilidades de recibir las remuneraciones y beneficios que nos corresponden por la utilización de nuestras grabaciones y prestaciones artísticas en: plataformas digitales, medios de comunicación, transportes y locales y negocios que utilizan música.

Hay usuarios que se resisten, año tras año, a pagar los derechos. Ante esta situación, AIE, confiando en la neutralidad e imparcialidad de las instituciones, para resolver un conflicto de tarifas, solicitó el arbitraje de la Sección Primera de la Comisión de Propiedad Intelectual, SPCPI, creada para mediar y agilizar los conflictos entre usuarios y derechohabientes, y evitar procesos judiciales de larga duración. El presidente de esa comisión del Ministerio de Cultura, designado por el Ministerio de Economía, se ha mostrado públicamente hostil a la gestión colectiva y a las entidades de gestión, manifestando su posición, recogida por la prensa.

En ese contexto, decidió dictaminar que las tarifas de AIE y AGEDI deben reducirse y retornar a niveles por debajo de los que teníamos en 2006, lo cual supone un descenso muy importante en los ingresos que AIE debe recaudar para distribuir a sus socios.

A pesar de las protestas y la recusación formal del presidente de la CPI, por parte de AIE y AGEDI, la CPI decidió notificar su resolución, ignorando las tarifas en vigor publicadas por AIE en años anteriores de acuerdo con la Ley, e ignorando los informes que presentamos sobre el promedio de las tarifas en Europa y otras regiones.

Esta situación, absurda injusta e irregular, perjudica a AIE y a los artistas, causándonos una indefensión intolerable. Por ello, vamos a recurrir a todas las instancias necesarias para pedir justicia, equidad e imparcialidad.

Solicitamos la restauración de una comisión que se creó para mediar y no para humillar y despojar de sus derechos a los artistas.

Ha sido un año de reuniones, gestiones, acciones institucionales y trabajo, para estar presentes en todos los procesos legislativos que afectan a derechos intelectuales, tarifas, derechos laborales, pensiones, compatibilidad entre actividad artística y jubilación, y otros.

En 2018, hemos logrado conservar los derechos que representamos y ampliar algunos otros, imprescindibles para solidificar el futuro de los artistas, como la copia privada, secuestrada por el gobierno desde 2011 y recuperada en 2018. En 2019 hemos mejorado del 25% al 30% la parte que perciben los artistas, reducida injustamente en su inicio y ahora restablecida. Otro importante logro, después de años de duras negociaciones, ha sido llegar a recaudar y repartir derechos de las plataformas Spotify, Deezer y Google Play. Comienza una nueva etapa en la que los artistas ya perciben derechos del streaming a través de AIE. Este logro, pionero en la gestión colectiva, nos llena de satisfacción. Ha sido muy difícil, pero marca un antes y un después muy favorable para los artistas en los derechos de internet.

Con muchas tareas y dificultades, hemos cumplido los compromisos fijados con los socios y socias, con la reciprocidad internacional y con la administración. La tensión, el esfuerzo y el espléndido trabajo del Consejo y de todos los departamentos de AIE, han dado un magnífico resultado:

HEMOS RECAUDADO 36,6 MILLONES DE EUROS EN 2018

Hemos controlado el gasto, un año más. Es muy satisfactorio superar las previsiones de recaudación en un año tan difícil como 2018.

Servir a los artistas de la música, con transparencia y eficacia, es la misión principal de AIE y a eso nos dedicamos con ilusión.

AIE se consolida, en 2018, como la entidad de artistas del mundo con más acuerdos de reciprocidad firmados y en vigor. Estamos presentes en el 98% de los territorios donde se respeta la propiedad intelectual y existen legislaciones que permiten la recaudación y el intercambio entre sociedades de gestión.

Las herramientas de gestión de AIE son usadas por otras entidades. Esto nos produce satisfacción y aporta ingresos especiales para ayudar a reducir el descuento de administración. AIE realiza revisiones y auditorías para defender y recaudar los derechos de todos sus socios en el mundo.

Seguir a la vanguardia de la tecnología, la innovación y la internacionalización, es prioritario para AIE. La tecnología nos da las herramientas y la información precisa para llevar a cabo la gestión colectiva con precisión, inmediatez, transparencia y equidad. La innovación nos aporta eficacia y futuro. La internacionalización nos da presencia en el mundo y nos permite exportar el talento y los derechos de los artistas de España y vigilar y recaudar sus derechos en cualquier lugar donde se produzcan. A esta múltiple y eficaz tarea de servicio dedicamos recursos, tiempo y esfuerzo. Esta tenaz vocación nos reporta muchas satisfacciones.

AIE está reconocida, en el ámbito internacional, como una de las sociedades más avanzadas y modernas en cuanto a sistemas, tecnología y precisión en la identificación y distribución de los derechos.

Hay algo que me viene preocupando desde hace algún tiempo, que ya he expresado en esta carta del presidente de la Memoria AIE y en mis informes en las dos últimas Asambleas AIE: Es necesaria la implicación de los más jóvenes en la gestión de los derechos de propiedad intelectual para garantizar el futuro de la gestión y los derechos de los artistas.

Es posible que los acontecimientos acaecidos en alguna de las entidades de gestión existentes, y otras múltiples razones, hayan podido ahuyentar y desanimar a los artistas más jóvenes a involucrarse en el control, desarrollo y gestión de los derechos de los artistas. La gestión colectiva no es una imposición ni algo contra moda o sistema.

La gestión colectiva es un servicio que las entidades ofrecemos a los titulares de derechos, a la administración pública, a los usuarios y a los ciudadanos, para facilitar el uso de la música. Implantada en el mundo entero, la gestión colectiva bien realizada es el único sistema conocido que garantiza que los más exitosos artistas perciban sus remuneraciones, y que los minoritarios que no llegan a esos puestos de relevancia y popularidad, reciban, también y con garantías, los beneficios que sus actuaciones devengan y las atenciones que como personas y profesionales requieren.

AIE ha cumplido al 100% los tiempos y atenciones marcados en la Carta de Servicios AIE, y han sido atendidas todas las personas que solicitaron servicios de consulta y ayuda.

Es muy gratificante ver cómo los jóvenes del mundo se manifiestan y preocupan por el medio ambiente y por conservar y no dañar la naturaleza y el patrimonio tangible. El patrimonio artístico intelectual es también un bien común, tan importante como el otro. Es riqueza y patrimonio de la humanidad, y como tal hay que protegerlo. Animo a los jóvenes a que lo descubran, lo valoren y se impliquen en su conservación, defensa y desarrollo.

DIRECTIVA DE DERECHO DE AUTOR EN EL MERCADO ÚNICO DIGITAL

En el área internacional, AIE ha desarrollado en 2018 una gran actividad:

• Trabajando en la creación, desarrollo y apoyo de la campaña FAIR INTERNET – INTERNET JUSTO, cuyo Consejo Directivo fue convocado y creado en la sede de AIE Barcelona, en enero de 2015, por representantes internacionales de todas las organizaciones de artistas de Europa.
• Interviniendo directamente en las instituciones europeas, Bruselas y Estrasburgo, y en la OMPI, con encuentros y reuniones con eurodiputados, partidos políticos y representante gubernamentales, facilitando documentación, argumentos y soluciones para posibilitar a Axel Voss, ponente de la Directiva de Derecho de Autor en el Mercado Único Digital, conocer la posición y necesidades de los artistas y sus derechos. El texto propuesto por los artistas para el artículo -14 de la Directiva, ha podido salir adelante y ser votado por el Parlamento, el Trílogo y el Coreper. Esperamos que, al tiempo que se edita esta Memoria, el texto sea confirmado, y los autores y artistas podamos sentir que las instituciones europeas defienden, al fin y abiertamente, nuestros derechos y la justa remuneración que nos corresponde.

Gracias a Axel Voss, el ponente de la directiva, quien ha trabajado durante meses para construir la ponencia y tratar de mejorar los derechos de los artistas y demás derechohabientes. Nos recibió en su despacho, estudió y debatió con nosotros para conocer y tener una clara idea de la necesidad de los artistas de tener una efectiva protección y percibir una remuneración justa por la utilización de nuestro trabajo y creatividad. Y eso es de agradecer.

La tarea de gestionar los derechos de propiedad intelectual es, con frecuencia, ardua y desalentadora. En el Parlamento Europeo las opiniones y posiciones de los eurodiputados y partidos cambian dependiendo de las presiones y campañas que las plataformas digitales y las poderosas empresas globales organizan para neutralizar o cambiar las propuestas políticas. Estas causas requieren inteligencia, tenacidad y desterrar el desánimo cuando las cosas no salen como se habían planificado. Hay que discutir, luchar y aliarse con políticos, partidos e instituciones, con y contra algunos usuarios, poderosos y contrarios a cualificar y cuantificar el valor de los derechos de los artistas y autores. Un camino de largo recorrido en el que la paciencia y la constancia son buenas muletas en las que apoyarse.

LEY DE PROPIEDAD INTELECTUAL

Los cuatro partidos políticos mayoritarios: PSOE, PP, Ciudadanos y Unidos Podemos, con el apoyo del Grupo Mixto, en un inusual espíritu de entendimiento y concordia, han consensuado la reforma de la LPI, y dejando a un lado la ideología partidista, han validado la propuesta de la Comisión de Cultura del Congreso de los Diputados, incorporando al ordenamiento jurídico español dos directivas europeas. Esta reforma de ley modificará sustancialmente los estatutos de las entidades de gestión en muchos de sus artículos. Desde AIE celebramos y agradecemos el consenso y reconocemos a los miembros de la Comisión de Cultura el buen ambiente y entendimiento que han mantenido.

Las medidas que incorpora la Ley que modifica el Texto Refundido de la LPI, aprobada por el Congreso de los Diputados el 21 de febrero de 2019, van a modificar profundamente los estatutos vigentes de AIE. Algunas de esas medidas ya habían sido incluidas por AIE en los estatutos, normas y carta de servicios de AIE 2015, pero tendremos que realizar una extensa adaptación de textos y reforma general que afectará a muchos de los artículos existentes en los estatutos. Sobre este tema se puede obtener información precisa y completa en esta Memoria y en la Web de AIE.

No es posible sostener una actitud permanente de lucha y reivindicación sin el soporte constante de los artistas que son los beneficiarios finales de todas esas discusiones y luchas. Por ello, damos las gracias a muchos artistas que, después de haber recibido los comunicados y las memorias que durante estos cuatro años de actividad hemos enviado a las socias y socios de AIE, han llamado, escrito y mostrado su apoyo y disponibilidad, para ofrecerse a colaborar en nuestras acciones.

Sólo con una fuerte unión de los artistas, los autores y sus entidades de gestión, podremos forjar un futuro cierto para todos los que hemos elegido el viaje de la interpretación, la creación, el servicio, el trabajo y las emociones.

Hemos solicitado una legislación inteligente, práctica, justa y equitativa para mejorar la situación de los derechos de los artistas.

Iremos escalando peldaños poco a poco, manteniendo la tensión para que la administración, los políticos, los partidos y las instituciones, no descuiden algo esencial: La protección eficaz, aplicable y definitiva de la propiedad intelectual, el Pacto de Estado por la Cultura y la Propiedad Intelectual, que la cultura y la propiedad intelectual no se utilicen como armas políticas ni elementos de intercambio de favores entre legisladores, y no atenten contra la libertad de expresión, de información o de elección en el consumo.

Solicitamos a todos los partidos políticos e instituciones, que se proteja para siempre, el derecho de los bienes culturales, no tangibles pero perceptibles, para que no estén al arbitrio de unos y otros partidos. Que no haya que estar reconquistando una y otra vez, el derecho al derecho. Ya es suficiente.

Gracias al Consejo de Administración, vicepresidentes, secretario, director general y a todas las personas que trabajan y colaboran con AIE, por su ayuda, entrega y dedicación. Vamos creciendo hacia el futuro con sensatez y empeño.

Es necesario que las generaciones más jóvenes de artistas, de todas las tendencias y modalidades, se impliquen en esta fantástica aventura y aprendan para poder defender con sabiduría y acierto nuestro apreciable patrimonio intelectual y económico:  Los derechos, la gestión colectiva y la AIE.

Gracias a todos y todas por la confianza, por el respeto y la alta valoración de nuestro trabajo y por el buen ambiente que reina en AIE. Esto nos permite trabajar, avanzar, conseguir leyes, derechos, ser un referente de buena gestión, liderar la gestión colectiva internacional, y enfrentar los problemas reales sin absurdos obstáculos ni rencillas internas.

Afectuosamente

Luis Cobos

Músico y presidente de AIE

Luis Cobos was born in Campo de Criptana (Castilla-La Mancha).

He studied musical theory and learned to play requinto guitar with Mr Manuel Angulo, the band conductor, whom he would later help to prepare the concert programs and repertoire of the Beethoven Philharmonic Band and to teach musical theory to the youngest learners.

He joined the Beethoven Philharmonic Band at the age of 8 and remained a member until he was 14. During that time, he also sang as male soprano soloist in the Campo de Criptana choir and orchestra. At the age of 10, he took singing lessons in Madrid.

In Campo de Criptana, he was part of the Orquesta Mambo in which he played alto sax.

At the age of 14 Luis Cobos moved to Ciudad Real and began his studies at the Jesuit school; there, when he was 15 years old, he founded the Escolanía Loyola choir school, which he conducted himself. Indeed, he won the Children’s Choir Award in Cuenca with this choir school.

Apart from his studies, he carried out musical activities, composed numerous pieces, taught musical culture and theory classes and organized and directed several theatre plays while he worked on the arrangement of musical works for big band, choir and organ. Later, he was sent to study Polyphony and Choir Conducting at the University of Salamanca with Father Manzárraga. He was by far the youngest among 160 choir conductors which attended these courses at the University of Salamanca. At the age of 19, the Jesuit school suggested he stay to work as a teacher and educator, an activity which he carried out for one year.

As a guest student, he passed the musical theory and harmony exams at the Royal Conservatory of Madrid with outstanding grades.

Later, already in Madrid, he toured together with several musical groups and orchestras. By the end of 1968 he formed his own project named Conexión, strongly influenced by jazz and soul. He wrote and composed various songs which became international hits and appeared on Spanish and international music charts.

Afterwards, as a musical conductor, he directed, conducted and produced countless records and musical works, most of which were resoundingly successful.

He has conducted, produced and collaborated with numerous performers and bands, among others: Plácido Domingo, Julio Iglesias, Pedro Vargas, José Carreras, Ana Belén, Paco de Lucía, Nino Bravo, Antonio Banderas, Sara Montiel, Tino Casal, Joaquín Sabina, Antonio Flores, Mecano, Olé-Olé, Orquesta Mondragón, Pedro Iturralde, Isabel Pantoja, Arturo Sandoval, Paloma San Basilio, Diana Navarro, Miguel Ríos, Ana Torroja… and a long list of national and international artists and groups.

Luis Cobos conducted and produced -and also recorded piano and keyboards- a record with Danny Lane, composer and guitarist (member of Wings with Paul McCartney and Linda McCartney); Ginger Baker, drummer (member of Cream with Jack Bruce and Eric Clapton, drummer with Jimi Hendrix); and Rick Grech, bassist (member of Traffic and Blind Faith). This was one of the most important, curious and complicated works ever recorded by him.

He also collaborated in a record for Save the Children sponsored by Anne, Princess Royal of the United Kingdom, in which all singers and actors of London’s musicals intervened: Cats, Starlight Express, Les Miserables, etc. The record counted also on the participation of Sara Brightman, then wife of Andrew Lloyd Weber. The composer invited Luis Cobos to the premier of his Requiem at Westminster Cathedral.

It was in 1982 that Luis Cobos became internationally recognized and renowned as an orchestra conductor all over the world. In October 1982, he recorded his work “ZARZUELA” together with The Royal Philharmonic Orchestra at Abbey Road studios in London and achieved great international success and popularity.

In a short period of time, Luis Cobos and his release “ZARZUELA” jumped to the absolute number one on international sales charts and reached a total of ONE MILLION copies sold, an unimaginable amount for a Spanish instrumental record. Expected sales of a number one instrumental hit amounted to an estimate of 50000 copies sold, and Luis Cobos was the first performer and conductor to break this barrier and establish a new threshold with ONE MILLION copies sold. Resounding, million-dollar hits would come later: SOL Y SOMBRA, MEXICANO (this record by Luis Cobos also sold ONE MILLION copies in Mexico); MÁS ZARZUELA, CAPRICCIO RUSSO (14 different covers of this record were made for various countries and continents); TEMPO D’ITALIA, VIENNA CONCERTO, OPERA MAGNA, SUITE 1700, VIENTO DEL SUR, OSCARS, AMOR, LA DANZA DE LOS CORCELES, MI HISTORIA, VIVA MÉXICO, ENCANTADOS… All these releases earned platinum records.

As an orchestra conductor, Luis Cobos has recorded a large collection of releases. Each of them has exceeded the average of 500.000 copies sold.

Luis Cobos has earned Gold, Platinum and Diamond records in: Spain, Belgium, Finland, Portugal, Germany, United States, Japan, Argentina, Colombia, Mexico, The Netherlands, France, Brazil…

However, this success, along with the hits and releases that earned Gold, Platinum and Diamond records all over the world, is not enough for him. Luis Cobos wants to give a meaning to his career, as well as veracity and consistency. That is why he is constantly touring with the first line international orchestras listed below. In 1984, he founded the Popular Symphony Orchestra and performed a successful concert tour all around Spain.

These are some of the orchestras which have counted on the participation of Luis Cobos in their releases, records and concerts, and which have earned him several awards, prizes and honors:

• THE ROYAL PHILHARMONIC ORCHESTRA – London, UK
• VIENNA SYMPHONY – Austria
• GREAT MOSCOW SYMPHONY ORCHESTRA – Russia
• RAI NATIONAL SYMPHONY ORCHESTRA – Italy
• LOS ANGELES SYMPHONY ORCHESTRA – US
• BEIJING SYMPHONY ORCHESTRA – China
• THE LONDON SYMPHONY ORCHESTRA – London, UK
• KANSAI PHILHARMONIC ORCHESTRA – Japan
• ENGLISH CHAMBER ORCHESTRA – London, UK
• ROYAL OPERA HOUSE CHORUS – Covent Garden Opera Chorus – London, UK
• GRAN TEATRE DEL LICEU CHORUS – Barcelona, Spain
• RED ARMY CHOIR – ALEXANDROV ENSEMBLE – Moscow, Russia
• NATIONAL SYMPHONY ORCHESTRA OF MEXICO – Mexico
• SPANISH NATIONAL ORCHESTRA – Spain
• RTVE SYMPHONY ORCHESTRA – Spain
• BELGRADE PHILHARMONIC ORCHESTRA – Serbia
• BUDAPEST YOUTH SYMPHONY ORCHESTRA – Hungary
• HANNOVER YOUTH SYMPHONY ORCHESTRA – Germany
• BRUSSELS YOUTH SYMPHONY ORCHESTRA – Belgium
• BILBAO SYMPHONY ORCHESTRA – Spain
• LATIN AMERICAN YOUTH SYMPHONY ORCHESTRA – Latin America
• EUROPEAN SYMPHONY ORCHESTRA
• UNORCHESTRA – United Nations Orchestra
• GRAN CANARIA PHILHARMONIC ORCHESTRA – Spain
• BANDA PRIMITIVA OF LLIRIA – Civil band – Valencia, Spain
• ACAPULCO PHILHARMONIC ORCHESTRA – Guerrero, Mexico
• AUTONOMOUS UNIVERSITY OF GUADALAJARA SYMPHONY ORCHESTRA – Mexico
• GREAT TROPICAL ORCHESTRA OF PUERTO RICO – Puerto Rico
• SODRE SYMPHONY ORCHESTRA – Uruguay

… and a long list of professional and youth orchestras, bands and diverse music groups.

Luis Cobos has conducted and conducts orchestras in Spain, United Kingdom, United States, Japan, Germany, Italy, Austria, Romania, Hungary, former Yugoslavia, China, The Netherlands, Mexico, Argentina, Belgium, Panama, Colombia, Paraguay, Uruguay, Puerto Rico, etc.

In 1985, Luis Cobos conducted The Royal Philarmonic Orchestra at Santiago Bernabeu Stadium before 82000 people. This was the first time a symphony orchestra had played a concert in a football stadium.

His releases are edited and published all around the world.

The sales of his records exceed 15 MILLION copies sold.

OTHER ACTIVITIES

Luis Cobos is:

• President of the Spanish Society of Artists AIE.
  Luis Cobos, together with a group of renowned Spanish performers, funded in 1989 the Spanish Society of Artists AIE. Its Honorary Chairman is His Majesty King Felipe VI of Spain.
• President of the Ibero-Latin-American Federation of Performers FILAIE.
  As representative of this federation, comprising the totality of performers rights management entities from Latin America, Spain and Portugal, in May 1992 Luis Cobos requested the enforcement of the TOAIEF Treaty at WIPO, which became effective in December 1996. During those four years, Luis Cobos attended all relevant WIPO committees and fought for the establishment of this important treaty.
• President of GIART (International Organisation representing the EU performers’ Collective Management Societies).
  During his time in charge of this international entity, the protection period for performers was extended from 50 to 70 years. Luis Cobos led this movement and obtained the great support of European performers.
• Director of “Tierra de Gigantes” International Music Festival.
  Luis Cobos has directed the festival since its creation in 2005. He composes and writes the music, acts and manages the festival selflessly and without remuneration as a contribution to the development and promotion of culture in his town, Campo de Criptana.
• Guest conductor of The Royal Philharmonic Orchestra.
• Honorary conductor of the Banda Primitiva of Lliria.
• President of The Latin Grammy Foundation
  Luis Cobos was unanimously elected President of The Latin Recording Academy, based in Miami and which covers Latin America, Spain and Portugal. He presided this institution for seven years.

• Vice-President of the Spanish Academy of Music Arts and Sciences.
• Founding President of the University Board for the Arts based at the University of Alcalá de Henares.

This Board was founded in 1996 by Luis Cobos and Manuel Gala, rector of the University of Alcalá.

Several renowned public figures are Honorary Members of this Board: Claudia Cardinale, The Beatles performer and producer Sir George Martin, Ennio Morricone, French Minister of Culture Philippe Douste-Blazy, Chavela Vargas, Alfredo Kraus, British film director Sir Alan Parker, French performer and President of CISAC Jean Michel Jarre, The Royal Spanish Academy, The Gran Teatre del Liceu, Jordi Savall, Georges Moustaki, Nuria Espert, Bebo Valdés, The Berklee College of Music, Sara Montiel, The Liverpool Institute for Performing Arts LIPA, Mexican actress Silvia Pinal… and a long list of relevant names.

• Founding President of the Ibero-American Forum for the Arts, established at the Classical University of Lisbon in 1998. Many Ibero-American celebrities and public figures are members of this forum: Portuguese fado singer Carlos Do Carmo, Mónica Lapa, doctor and writer of the Portuguese Constitution Carlos Miranda, Chile’s ex-President Patricio Alwyn, Alberto Cortez, Roberto Carlos, and renowned Ibero-American senators, performers, Doctors in Law and civil rights activists.

Luis Cobos, always close to his roots, maintains a deep love and admiration for music bands and big bands, especially for the Beethoven Philharmonic Band of Campo de Criptana, which he has conducted several times and where he acquired his first knowledge and vocation. In 1986, he toured Spain together with the Banda Primitiva of Lliria, recognized as one of the best music bands in the world.

A tour of concerts and performances in Barcelona, Valencia, Palma de Mallorca, Málaga, Campo de Criptana…

All concerts were sold out and the tour was an enormous success in terms of audience and critical acclaim.

Luis Cobos has to his credit a long list of gold discs and over 100 platinum records in different countries. He has received countless awards for his work.

During a public event in 1998, the President of Sony Music Claudio Conde awarded Luis Cobos FIVE DIAMOND DISCS after he sold more than FIVE MILLION COPIES of his whole discography in Spain. That was the first time that SONY MUSIC awarded FIVE DIAMOND DISCS to a single performer in Spain.

Among the numerous awards Luis Cobos has received, the following stand out:

• GOLD LP RECORD AWARD (awarded by the national music critique).
• BOCACCIO MUSIC AWARD (Italy).
• SGAE AWARD for his work in promoting and disseminating Spanish music around the world.
• AMPEX GOLDEN AWARD (awarded for the first time to a Spanish performer in the United States). This prize is one of the most important awards for the quality and sales of music works in the world.

MOST IMPORTANT CONCERTS AND PERFORMANCES:

1985 – September – Santiago Bernabéu Stadium in Madrid before 82000 people with THE ROYAL PHILHARMONIC ORCHESTRA.

1987 – May – Plaza Mayor of Madrid with THE MOSCOW SYMPHONY ORCHESTRA

1990 – June –  EXPO’90 in OSAKA (Japan) with THE KANSAI PHILHARMONIC ORCHESTRA. Broadcasted via satellite.

1991 – Tour in Spain with THE BUDAPEST SYMPHONY ORCHESTRA.

1992 – Tour in MEXICO – 12 concerts around the country with THE BUDAPEST SYMPHONY ORCHESTRA, with successful performances in Mexico DF, Guadalajara, Monterrey, Durango, etc.

1993 – April – Concert in GENT, Belgium – Massive concert before 20000 people with THE BRUSSELS SYMPHONY ORCHESTRA.

1993 – October – Extraordinary concert at the PALACIO DE BELLAS ARTES in Mexico with THE MEXICO SYMPHONY ORCHESTRA. Benefit concert for the pioneers of Mexican cinema.

1994 – Concert in Belgrade and tour in Mexico with THE BELGRADE PHILHARMONIC ORCHESTRA. Massive concerts around the country.

2000 – 2001 – Massive tour through the Mexican Republic sponsored by Domecq. Performances in Monterrey, Mexico, Chihuahua, Ciudad Juarez, Guadalajara, San Miguel de Allende, San Luis Potosi, Aguascalientes, etc.

2005 – Great concert in Sierra de los Molinos in Campo de Criptana during the International Music Festival, celebrating the fourth centenary of “El Quijote”. Massive concert with over 5000 attendants.

2005 – Celebration of the Centenary of Durango and Gómez Palacio in Mexico. Two massive concerts, the first before 22000 and the second before 42000 people.

2007 – Tour ENCANTADOS around Spain with Paloma San Basilio and THE EUROPE SYMPHONY ORCHESTRA.

2008 – Concert at the Presidential Palace in Montevideo (Uruguay) with THE SODRE SYMPHONY ORCHESTRA.

2010 – Concert at the National Auditorium of Music in Madrid with the BEETHOVEN PHILHARMONIC BAND. This was the first time a band played at the National Auditorium, and the Beethoven Philharmonic Band of Campo de Criptana was accompanied by the Coral Santa Cecilia choir. It was a unique and exciting concert celebrated and supported by the entire town.

2012 – Christmas Concert in Romania.

2013 – Great concert “Todos somos música” (“We are all music”) conducted by Luis Cobos at the Auditorium of Barcelona with THE SPANISH SYMPHONY ORCHESTRA, consisting of 150 performers from all Spanish symphony orchestras and 100 singers from various choirs. Orchestra musicians from France, Germany, United Kingdom and Italy also participated in this concert.

2013 – Protest concert in the terrace of the Royal Palace of Madrid with THE RTVE ORCHESTRA AND CHOIR and guest conductors to prevent the reduction and discontinuity of the orchestra and choir. The concert was a success with over 15000 attendants, and the orchestra and choir were saved from this harmful measure.

2013 – Great concert “A toda banda” with 150 performers from all Spanish professional music bands, the Escolanía de El Escorial choir, the Coral Santa Cecilia choir and the Coro Voces Unidas (United Voices Choir).

2013 – Christmas Concert in Lliria conducting the BANDA PRIMITIVA OF LLIRIA. It was a reunion with the quintessential music band which proved to be a great and fraternal success. The band awarded Luis the Gold Badge.

2014 – Concert in Cordoba to prevent the reduction, discontinuity or dissolution of THE CORDOBA SYMPHONY ORCHESTRA. Massive and successful concert at a crowded Plaza de las Tendillas.

Luis Cobos has written and composed orchestral pieces, movie soundtracks, music works for classical theatre plays, TV, famous songs, electronic music, etc. Nevertheless, he is popularly known as an orchestra conductor. After conducting and composing, orchestration is the most important activity for him. His records are published all around the world and he has over FIFTEEN MILLION COPIES sold.

Luis Cobos COMPOSER

Luis Cobos has written and composed orchestral pieces, movie soundtracks, music works for classical theatre plays, themes for TV and series, famous songs, electronic music, etc.

He started composing at the age of 12 in Campo de Criptana, his hometown. There, he wrote some songs and pieces for clarinet which, he says, “have no special value”. Later in Ciudad Real, at the age of 15, he composed several pieces for choir and organ which would become his “liberation mass”. He also wrote several anthems, pop and dance songs.

Already in Madrid, he founded the band Conexión and composed a series of successful songs which were published in many different countries. Some of them earned great acclaim in international charts: Strong lover, I will pray, Un mundo sin amor, Niños del Edén…

He also founded the pioneering project Elbosco, a resounding success which was number one in the charts in Spain, France, Portugal, Brazil… Overall worldwide record sales exceed TWO MILLION copies sold.

Luis Cobos has composed and written music for classical theatre plays:

Sophoclean Tetralogy, among which Oedipus Rex, Oedipus at Colonus and Antigone stand out. The premiere took place at the Roman Theatre of Mérida, and these pieces have been published all over Europe, USA and Japan.

He also composed the music for “The Siege of Numantia” by Cervantes, the musical “Fantástico Boccaccio”, “Run for Your Wife” (Spanish version), “Cuéntalo tú que tienes más gracia”, “Mujer busca hombre”, among many others.

Music for radio and TV in Spain, United Kingdom, The Netherlands, Mexico, USA…

He has composed and written music for TV shows such as “El Kiosco”, “En portada”, “La noche abierta”, “Como Pedro por su casa”, “Esta noche Pedro”, “Factoría Ratonil Pérez”, “Torpedo”, and for TV channels such as TVE, Antena 3 and Telecinco.

Luis has also composed music for radio stations and shows such as “Radio Nacional”, “Radio Cinco”, “Radio Ochenta”, “Antena 3”, “Radio España”, “Premios Ondas de la Cadena Ser”, “Los 40 Principales”, “Music for London BBC”, etc.

Furthermore, he has written, composed and performed musical pieces for two spectacles of the Royal Andalusian School of Equestrian Art of Jerez, namely “Así bailan los caballos andaluces” and “Sinfonía a caballo”.

He has also written and composed musical pieces for the Barcelona 1992 Olympic Games; the Paralympic Anthem for the 1992 Paralympics; the music for Olympus – Música para el Deporte de Madrid (“Music for Sport in Madrid”) and the anthems for several world swimming championships and winter sports; and further anthems and hymns such as “Olympus” (Olympic Hymn), the Ibero-American anthem, the “Himno de Montiel”, etc.

He has composed the institutional music of the autonomous community of Castilla-La Mancha.

As a composer and orchestrator, Luis Cobos has been number one in more than 20 countries. His pop song “Dancing in Paris” was a number one sales hit as well as a critically acclaimed success, and “Viento del sur” has been performed by outstanding jazz musicians from many different countries.

The following artists, performers and musicians have performed songs and arrangements composed by Luis Cobos: The Royal Philharmonic Orchestra, Plácido Domingo, Paco de Lucía, Julio Iglesias, Red Army Choir – Alexandrov Ensemble, Covent Garden Opera Chorus, Ana Belén, Antonio Banderas, Antonio Flores, Joaquín Sabina, Orquesta Mondragón, Elbosco, Angel, Pilar Jurado, Serafín Zubiri, Mónica Naranjo, Mecano, Pedro Vargas, José Carreras, The London Symphony Orchestra, The Moscow Symphony Orchestra, Paquito D’Rivera, Arturo Sandoval, Great Tropical Orchestra of Puerto Rico, The Budapest Symphony Orchestra, The Beijing Symphony Orchestra, The Los Angeles Symphony Orchestra… and many more.

Luis Cobos has composed the suite “Don Quijote de la Mancha” which includes pieces such as “Sinfonía a caballo”, “Morir cuerdo y vivir loco”, “En un lugar de la Mancha” or “Tierra de gigantes”. “Sinfonía a caballo” is an instrumental overture that describes the beauty, strength and elegance of horses. It is a hymn to freedom and respect for animals, a story of struggle, assertion and love between horseman and horse which ends up in a total symbiosis. Luis composed this piece as a movement of a great suite dedicated to Don Quijote and La Mancha. Before concluding the composition of the suite, he lent this piece to the Royal Andalusian School of Equestrian Art of Jerez to be used as representative music of their spectacles around the world. “Tierra de gigantes” is a cantata for orchestra, choir, soprano and tenor, a hymn to Campo de Criptana and its mountain range Sierra de los Molinos. The lyrics are also written by Luis, who writes the text for most of his vocal pieces. This cantata is brilliant and vibrating in its choral section, lyrical and delicate in its melody, touching and deep in its instrumental part.

The song “Todos somos música” (We are all music), composed by Luis Cobos, was performed by all Spanish orchestras in a simultaneous concert celebrated in 2013, in 26 cities of the world at the same exact time. Luis Cobos has composed and written over 500 songs, instrumental pieces and musical works.

He has also composed, orchestrated and conducted music for cinema. Among his compositions and orchestrations, the following stand out: “La corte del faraón”, “Yo soy esa”, “El día que nací yo”, “Bésame tonta”, “Tiempos de constitución”, “Dulces cajas de regalos”, “Las gatas tienen frío”, “Crónica de un instante”, “El Club Bilderberg” and many more.

For years, Luis Cobos was an expert in advertising music. He composed the music for the commercial campaigns of El Corte Inglés for five consecutive years and won several awards.

He also wrote and composed the advertising music for campaigns from major brands such as Nescafé, Renault, Seat Ibiza, Peugeot, Cepsa, Seat Málaga, Mercedes… and for further toys and food advertisements, radio spots, advertising companies and various brands.

AWARDS, PRIZES AND DISTINCTIONS

Luis Cobos has won several awards in Spain, United States, China, Germany, Belgium, Argentina, Mexico, Romania, Hungary, Austria, United Kingdom…

• Ampex Golden Award (USA)
  This prize is one of the most important awards for the quality and sales of music works in the world. Luis Cobos was the first Spanish performer to be awarded this prize.
• BOCACCIO MUSIC AWARD (Italy).

• Luis Cobos was awarded the Rathausmann in 1987 (symbol of the city of Vienna awarded each year) by the Mayor and Governor of Vienna Dr. Helmut Zilk. During this protocol ceremony, celebrated at the Wiener Rathaus and Parlament, the Mayor presented the record “Vienna Concerto” by Luis Cobos to the press, media and invited guests. Then, he awarded Luis Cobos the Triple Platinum Record award after his album “Vienna Concerto”, recorded at the Konzerthaus Theatre in Viena with The Vienna Symphony Orchestra (Wiener Concertverein), had sold over 300000 copies on the first day of its public presentation. Later, in 1991 Luis Cobos was invited by the Mayor of Vienna to attend the Vienna Opera Ball together with Plácido Domingo and José Carreras.
• Favorite Son of Campo de Criptana
• Key to the city of Durango – Mexico
• Key to the city of Gómez Palacio – Mexico
• Symbol of Ciudad Juarez
• Rathausmann, symbol of the city of Vienna
• Distinguished Guest of the city of Asuncion – Paraguay
• Distinguished Guest of the city of Chihuahua – Mexico
• Distinguished Guest of the city of Cuernavaca – Mexico
• Distinguished Guest of the city of Jiutepec – Mexico
• National Tribute in Mexico
• Tribute in San Miguel Allende – Mexico
• Circuito Maestro Luis Cobos – street named after Luis Cobos in Guadalajara – Mexico
• Street named after Luis Cobos in La Solana – Ciudad Real
• Street named after Luis Cobos in Baeza
• Universal Excellence Award (awarded by the Universal Excellence Committee, comprised by representatives from USA, FRANCE, UNITED KINGDOM, SPAIN, MEXICO and ARGENTINA).
• El Pais Award 1980 – Best Musician of the Year
• Antena de Oro Award 2012
• Award of the University of Gaden Shartse – Karnataka – India
• Prize awarded to Luis Cobos by all Spanish symphony orchestras and AMPOS (association of Spanish professional orchestra musicians) for his work in helping performers, promoting orchestras and supporting symphonic music in Spain.
• Prize awarded to Luis Cobos by the Symphony Orchestra of Barcelona for his effort and work in supporting performers and symphonic music.
• “Sirenita de Oro” Award at the Festival of Benidorm.
• UNICEF International Medal of Honor.
• Award of the Shanghai University of Political Science and Law – China
• Award of the Beijing Intellectual Property Community – China
• Special Prize awarded to Luis Cobos by the Honorable Congress of the Union of Mexican States for his work in promoting and disseminating Mexican music around the world.

On 22 December 2000, the Congress of Mexico held an extraordinary session for the purpose of recognizing and thanking Luis Cobos for the promotion and dissemination of Mexican music around the world. There is a Congressional Record on this extraordinary session.

• Commemorative plaque of Luis Cobos in Grutas de Cacahuamilpa (Mexico) for his concert “La última primavera del siglo” (The last spring of the century).
• Prize awarded to Luis Cobos by the collective of Chilean performers for his work in defending and protecting the rights of performers all over the world.
• Honorary Distinction of the Mexican Committee for Human Rights.

(Luis Cobos conducted the Mexico City Philharmonic Orchestra during the commemorative concert of the 15^th anniversary of the Mexican Committee for Human Rights at the Ollin Yoliztli Theater).

• Designation as Honorary Conductor of the Banda Primitiva of Lliria.
• Designation as cultural ambassador to the world of the State of Durango (Mexico).
• “Hidalgo de Honor de los Molinos” Award
• “Premios Castellano-Manchegos en el mundo” Award (Awards for Castilian-Manchegan personalities).
• Premio Naranja 2014 Award (awarded by Peña Periodística Primera Plana).
• Honorary Conductor and Cultural Ambassador of Targu Mures – Romania
• Award of the members, medal and insignia of the Banda Primitiva of Lliria.
• Designation as Honorary President of the “Mano a Mano” annual concert in Buñol by the music bands “La Artística” and “La Lírica”.
• Award of the City Council of Buñol – Valencia.
• Latin Grammy Nominee
• Several nominations for the Spanish Music Awards.
• CARLOS ESPARRAGORZA First Class Award, the maximum distinction awarded by the collective of Venezuelan performers to Luis Cobos for his work in defending and protecting music and its performers.
• President of the International Singing Competition of Colmenar Viejo.
• Premio Quijote de la Música Award – Campo de Criptana.
• Premio Chambra 2014 Award – Puertollano.
• Premio Quijote 2000 Award – Ciudad Real.
• Premio de los Académicos de Argamasilla Award.
• Premio Cadena Ser Ciudad Real Award.
• Premio Onda Cero Castilla-La Mancha Award.
• Premio Castellano-Manchego Award.
• Premio Corazón de Castilla-La Mancha Award.
• Prize awarded to Luis Cobos by the City Council of Ciudad Real in recognition of his career.
• Premio Corazón de La Mancha Award.
• Asociación Mancha Verde Award.
• Musical Ambassador of La Solana.
• Juan Pedro Mayor Award in the Zarzuela Week of La Solana.
• Honorary President of the Amigos de la Zarzuela Association in La Solana.
• Award of the city of Acapulco – Mexico.
• Award of the city of Culiacán – Sinaloa – Mexico.
• Award of the city of Mazatlan – Mexico.
• Honorary Patron of the Rafael Banquels Association of Mexico as a supporter and promoter of Mexican cinema pioneers.
• Silver medal of the ANDI Association and the collective of Mexican performers.
• Award of the Mexican Music Workers Union.
• Award and honorary necklace of the Otomi indigenous people of Mexico.
• Award and honorary drum of the Tarahumara indigenous people of Mexico.
• Award and canvas of the God of Music dedicated to Luis Cobos by the Huichol indigenous people of Mexico.
• Award and honorary tapestry of Coahuila – Mexico.
• Award and honorary necklace of the Amuzga indigenous people of Mexico.

(Luis Cobos donated 10.000 dollars, a portion of the proceeds of his concert “La última Primavera del Siglo” in Grutas de Cacahuamilpa, State of Guerrero, Mexico, to this indigenous people for the building of a new House of the Crafts and the emancipation of the community).

• Distinguished Guest of the city of Jiutepec – Morelos – Mexico.
• Award of the city of Guadalajara – Mexico.
• Award of Las Cañadas – Guadalajara – Mexico.
• Ambassador to Europe of the National Crusade Against Hunger – Mexico.
• Distinguished Guest and special award of the city of Monterrey – Mexico.
• Award of the State Government of Mexico.
• Award of the State of Nuevo León – Mexico.
• Award and painting of the city of Durango – Mexico.
• Distinguished Guest and Honorary Conductor of Tlayacapan – Mexico.
• Award of the people of Xochistlahuaca – Guerrero – Mexico.
• Honorable Mention awarded by WIPO (World Intellectual Property Organization) and the Chinese Government to Luis Cobos at the Great Hall of the People in Beijing, conducting The Beijing Symphony Orchestra.
• Parque Municipal “Luis Cobos” (park named after the conductor) and statue in Campo de Criptana – Ciudad Real.
• Madrid Community Culture Award.

After all, the most precious trophy for Luis Cobos is his eagerness for music, his desire to work and his willingness to cooperate, collaborate and fight for music and for the freedom of arts.