The AIE Annual Report for year 2016 describes in detail all activities and duties, pending or accomplished, related to the accounts, collections, distributions and movements, and performed to improve the collection and management of performers rights during 2016 by the people and technical teams that make up our society. This way, our members can endorse or reprove every measure taken, and both the public and authorities who monitor the compliance with the statutes and commitments undertaken by AIE are able to determine the veracity, rectitude and transparency of our labor.
2016 AIE COLLECTION = 30.3M€ (29.1M€ in 2015)
+ 7 % higher than budgeted and + 4% compared with 2015
HIGHER NATIONAL COLLECTION = + 13.5% compared with 2015
DISCOUNT = 10.81% equivalent to the budgeted amount
AIE HAS DISTRIBUTED 29 MILLION EUROS TO ITS MEMBERS IN 2016
The Board of Directors of AIE has met the budget for 2016 by controlling expenditures and increasing the amount of monies collected. With great effort, this has allowed AIE to collect more than 30 million euros in 2016, despite the weakening caused in our collection during the last five years by the Government’s virtual elimination of the compensation for private copying in January 2012 (around 9 million euros every year, already over 50 million euros). As we previously explained and described, this elimination, unfair and harmful for all performers and other right holders, increases the breach, the shame and the distance, both in terms of financial amounts and legal protection, between Spain and the rest of EU countries. Furthermore, this elimination places us in a state of inferiority in matters of legal protection and financial compensation in relation to these countries since we hold several active and effective reciprocity agreements with them.
AIE HOLDS 88 AGREEMENTS WITH 77 ENTITIES FROM 56 COUNTRIES
AIE is the collective management entity with most active and effective reciprocity agreements in the world. AIE holds reciprocity relations and is present in 98% of the territories and regions where intellectual property is ensured and legislative measures allow the collection and exchange among management societies.
AIE’s modern management tools are also used by other societies of artists. AIE carries out regular reviews and audits together with these entities to defend and collect the rights of all members in the world.
AIE remains at the cutting edge of technology within the scope of management entities. We will continue developing and improving this task with constant effort and dedication. AIE is part of SCAPR’s Board and IT Council.
AIE continues chairing the Ibero Latin American Artists Federation FILAIE. The progress in terms of management, rights development and reciprocity is notable. The FILAIE-WIPO agreement allows for the Access to information and for the organization of events and plans to develop the capacities of entities from some regions of the globe which still need support to settle and evolve. AIE is proud and eager to help emerging societies.
It is very satisfying for us to see how all four entities we developed only four years ago are effectively functioning at the current levels of management, collection, distribution and reciprocity control held by consolidated management entities.
2309 MEMBERS SURVEYED IN 2016 = 8,8 SATISFACTION OUTCOME (on a scale of 1-10)
The satisfaction survey conducted by AIE in 2016 among 2309 members, of which 663 replied, obtained an average score of 8,8 out of 10. Today, AIE has more than 24000 affiliates and these results stimulate our work towards a better service for our members.
In 2016 AIE has devoted 334,859€ to welfare assistance.
Since its establishment, AIE has devoted 2,532,000€ to aids and grants for its members.
Working transparently and efficiently for our performers is AIE’s main mission and commitment.
2016 has been a tough year with regard to the administration and elaboration of new and very complex tariffs, legal matters and consultations, negotiations, judicial remedies…
The Government modified the Law on Intellectual Property in 2014, which was followed by the publication of the Ministerial Order on the establishment of tariffs for management entities by the end of 2015. This step added further complications and confusion to all matters related to collective management and blurred the relationship between management entities, users and the Public Administration.
Indeed, the Law specified that management entities must restructure and reschedule ALL tariffs within six months -previously agreed with users and in force; in AIE’s case, 45 full tariffs with all modalities and ramifications entailed-, and that users must pay in advance either 70% of the general tariffs in force or an equivalent amount referred to in the established agreements before enacting the Law.
Users have ignored this article. Some of them do not want to carry out any negotiation, some are performing their payment in advance; other users simply adopt a biased interpretation for their personal convenience.
We will need to bring users before the Committee on Intellectual Property to establish tariff rates and, consequently, to proceed with collection.
In other words, the new law and the Order on tariffs have further entangled collective management, rather than clarifying it.
We live in uncertain times, in times of turmoil and biased ignorance.
Legislation in terms of intellectual property is currently sliding, slipping, oscillating aimlessly. It doesn’t provide any answers, nor does it address the needs of creators, of artists, of the disjointed creative community which fights small or great battles against corporations and private or public entities which deliver decrees, laws, norms and generate further obstacles, postponements… with an aim to achieve an alleged harmonization among countries, but without solving the most urgent problems of individuals. Sometimes, the legal deadlines to reply to these laws, norms and decrees are very short and compel management entities to successively undertake analyses and studies at full speed in order to elaborate the legal responses and arguments which allow for a guaranteed litigation, always bearing in mind the expenses and general exhaustion this entails.
We have been struggling in the courts for years and years: informing, reporting and even begging local and regional governments and international organizations to hear us and make the fair vindications of artists and authors their own; making a colossal effort, we have invested time, resources and inspiration encouraged by the idea of going one step further in a race which will keep driving us into lawsuits, claims and frustration if there isn’t a substantial turnaround of events.
We are still awaiting the Supreme Court judgement on the patrimonial responsibility of the State (and Government) with regard to the virtual elimination of Private Copying, carried out by this Government in 2012.
However, we are very pleased to have achieved an unprecedented success in two legal cases:
1 – The system adopted by the Government for the Compensatory Remuneration for Private Copying in Spain -erroneously dubbed “digital levy”-, charged to the General State Budget, was declared illegal by the Court of Justice of the European Union in its judgment of 9 June 2016.
2 – Royal Decree 1657/2012 was declared null and void by the Supreme Court, as well as the compensation system itself.
This achievement might be described in just three or four lines. Nevertheless, accomplishing, feeding and defending this success has cost time, work and resources, besides of the reasoning and luck needed to make sure that things work out well.
By now, up to the day I’m writing this letter, neither the Government nor the State have reacted, or fixed a payable amount for the compensation for private copying, or restored their rights to the artists, authors and producers after the financial damage caused to all these right holders by the adopted private copying system, currently declared illegal and void.
Further information on these issues can be found in the official reports of the President and the Managing Director, included in the 2016 AIE Annual Report.
It just seems incredible how applying common sense, showing respect towards laws and customs, and building up a regulation system, which is something already standardized in our surrounding countries, can become such an arduous and difficult goal, sometimes unattainable.
Only through a strong union bond between artists, authors and their management entities will we be able to get out of the tangle and build a certain, tangible future for all of us who have chosen the path of interpretation, creation, work, service and emotion.
It is deeply worrying and complicated to wisely walk on the quicksand we have been driven into by politicians, parties, lobbies, the technology industry, digital platforms, large content corporations and other emerging agents which suggest that the current business model has changed. As we previously said, it is not the business model that has changed. Indeed, the game tools and rules have changed, and they have changed a lot, while new parasites and freeloaders want to take advantage of this overall confusion in order to get a larger slice of the pie -a pie which is so hard to create and cook for its very owners: performers and authors, the weakest links in the chain. Therefore, a smart and practical, fair and equitable legislation is required, although I’m not sure whether it would be asking too much as this exact moment.
This patchwork of competitors wants everything, or almost everything. They don’t settle for the outcome of the fair exploitation of the products we create. No, they want, everything. They also want to participate and/or to have the ownership of creations and performances through contracts that flip all precepts related to the use of these works and performances in all possible ways, manners, spaces and timeframes.
In return: nothing or almost nothing.
PERFORMERS AND AUTHORS: A COMMON DESTINY
We need to react, move and be aware that intellectual property is inherent to, necessary and sacred for performers and authors, for all creators, and also for the whole creative and productive community.
Currently, the emergence of new entities, agents and diverse collectives of rights “protectors and gurus” is creating a deep sense of confusion among performers and authors, while politicians, governments, institutions and other social groups perceive only a blurry picture of rights, right holders and their representatives.
It is about time to recapitulate, to study, to converge and to take action.
We need to be aware of the obstacles we are facing in order to achieve further progress. Government indecision on the rightful protection of intellectual property and its entitled holders, users’ resistance to paying, the technological challenge and the continuous questioning of rights and remuneration offer to right holders and collective management entities a rather unpromising scenario.
However, there is a barrier much greater than those previously mentioned and, at the same time, easier to remove: the disunity among authors and performers who, paradoxically and in a high percentage, are the same individuals. The time has come to think and act together.
An internal and active alliance involving every one of us is strongly needed. It is time to unify actions, to reduce administration costs, to join efforts and teams, to strengthen and improve collection, distribution, internal and external management, as well as to enhance action vis-à-vis users, public authorities and internal organizations and structures.
All of this will positively contribute to increasing national and international credibility, and will improve a reputation which, in some cases, is frankly deteriorated.
Everything can change, of course it can, but we all need to be involved in the fight, as it is something natural and inherent to the profession of musicians, performers and authors.
We perform the same tasks, largely duplicated, separated and sometimes even confronted by public administrations which defend the existence of two management bodies instead of one strong, technified and greater single entity.
We belong to similar organizations, managed by duplicated, sometimes very expensive, administrations.
Our structures are practically twins and, therefore, duplicate tasks which could be managed by the same individuals and for both collectives, reducing thus the administration cost to members. We would be far more stronger when it comes to negotiations with users if we could manage jointly two types of rights instead of one. We could achieve a better reputation and enhanced results for our members if we could manage jointly the collection and administration of certain rights. For instance, after years of insisting on a joint management of public communication collection and administration in venues open to the public, AIE grew by 10% in 2015 and by 14,19% in 2016 -and we keep growing.
AIE INTERNATIONAL EVENTS
By the end of 2016, AIE organized several unique international events:
International Seminar “THE ROLE OF STATES IN THE PROMOTION AND PROTECTION OF INTELLECTUAL PROPERTY”, which took place on 17 October 2016 at AIE headquarter offices in Madrid in collaboration with IFPI and the University of Alcalá.
The Office Managers for authors’ rights from Chile, Paraguay, Costa Rica, Panama, Dominican Republic and El Salvador intervened in this symposium.
The 2nd International Performers Meeting celebrated on 18 October 2016 at AIE headquarter offices in Madrid, marking twenty years since the celebration of the First Global Performers Meeting, also organized by AIE in Madrid and Alcalá de Henares back in 1996.
The AIE Annual Report offers a detailed look on these meetings.
FAIR INTERNET FOR PERFORMERS
On 9 January 2015, an international meeting sponsored by AIE was celebrated at AIE headquarter offices in Barcelona. During this meeting, the Governing Board was established for the FAIR INTERNET FOR PERFORMERS campaign, which seeks an adequate and fair remuneration for performers from those digital platforms, web portals and content providers that have used their performances and interpretations in the digital realm.
The campaign saw the design of an action plan which has been developed to reduce the gap between the legal protection promised by European law to music performers and the limited opportunities of today’s artists to enjoy the protection and receive the fair remuneration corresponding to the commercial use of their performances.
To this day, the current European legal framework also fails to adequately protect the rights of music performers.
In 2015 and 2016, many actions have been taken to draw the attention of parliamentarians, governments and institutions to the need to configure the ‘making available’ right (digital rights) as an unwaivable remuneration right of compulsory collective management -as the best way for music performers to receive what they are entitled to.
In December 2015, we started a new campaign at the WIPO Committee to support and foster GRULAC’s proposal to review the current legislation on digital rights. For this reason, I have made a number of interventions at WIPO meetings particularly to activate the transformation process of the ‘making available’ right.
We keep working with great enthusiasm and dedication to achieve these important goals. These will give us stability and will help us improve the present and future situations of all artists, music performers and executants. That is why I’m including below one piece of good news regarding the ‘making available’ right we just received:
The Commercial Court Number 1 of Madrid has sentenced iTunes to pay 1.4 million euros plus the costs of the proceedings to AIE for non-payment of the remuneration corresponding to the ‘making available’ of phonograms between years 2006 and 2014. The judgment grants AIE’s claims and ‘observes the compatibility of the right to equitable remuneration referred to in Spanish law with EU law’. As opposed to iTunes claims, ‘an enhanced protection of music performers and executants does not imply that such protection is contrary to the Directive’. Furthermore, a double payment for performers does not exist, but ‘a means of ensuring their economic engagement is granted to performers whose performances are used for commercial purposes in the face of powerful record companies’.
Thanks to all members for your trust, and thanks to the Board of Directors, to the Managing Director and to the people who work and collaborate with AIE for their help, commitment and dedication.
Musician and President of Spanish Society of Artists 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:
With wich Luis Cobos has made recordings, concerts and won awads and distinctions.
… 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.
Luis Cobos is:
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:
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…
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.
AIE is managed by the following Governing Bodies:
It is the governing body in charge of the management and administration carried out by AIE. The Board of Directors consists of 28 members (President, two Vice Presidents, Secretary and 24 Board Members), all of them performers or executants and active members of the Entity. The President of the Board of Directors is Luis Cobos.
David de María
Nacho García Vega
Manuel Ruiz Queco
Juan Luis Calceteiro
José Luis Nieto
Its main task is to ensure the continued good administration and management of the Entity. This governing body, which has executive power, consists of the President of the Entity and six other Board Members of the Board of Directors.
Its core activity is the preservation and safeguard of corporate documents. The General Secretariat has the faculty to certify all kinds of corporate acts and agreements.
José Luis Sevillano Romero
Pedro Gómez Guirao
Álvaro García Fernández
Director Área Nacional
Paloma López Peláez
Jefa de Área Internacional
Pedro Rivas Prieto
Greta Seitl Bengoa
Verónica Pérez Aganzo
Rocío Navarro del Águila
Ana Mª Campillo López
Jefa de Área
Raquel Arenas Ruz
Esther Mínguez Tejeiro
Isabel Rubio Caballero
Javier Rodríguez Rascón
Natalia Guerrero Espinosa
Pilar Melendo Maeso
Pedro Tera Martínez
Carlos Pastor Pastor
Fernando Prados Velasco
Coordinador de sedes
Pilar Rodríguez Lama
Bienvenida García Coronel
Nuria Rojas Cuenca
Coordinadora sede de Barcelona
Julia Roque Páez
Paloma Hormigos Mera
Eva Rubalcaba Blanca
María Muñoz Madroñal (Sevilla)
Carmen Cespón Otero (Barcelona)
Ana Chenoll Alfaro
Rosa González Arroyo
Susana López Cervilla
Olga Madera Lastra
Jefa de Área
Ana Vázquez Romero
Aleida Nuñez López
Alejandro Soto Roncero
Esperanza Martín Escudero
Susana Román Sánchez
Purificación Molinero Solas
Julia Moya Fuentes
Mila Lasa García
Asunción Tamayo Gallego
Fernando Prados Velasco
Jefe de Área
Iván Prados Velasco
Juan Manuel Smerdou
Julio Hernández Díaz
Jefe de Área
Óscar Cortés Medina
Carmen Roque Páez
Patricia Pérez Ayuso
Cecilia Cantero Ruiz
Sonia Balsera Carretero (Barcelona)
Idoia García Fernández
María José Rubio Expósito
Jesús Pérez Benito
Diego Castaño Moreira
Sumika Matsumoto Miho
Silvia Pérez Pérez
Ignacio Olalla Jaime
Mª Eugenia Salcedo Cadenas
Lourdes Estrada Muñoz
Gema Sánchez Torres
Beatriz González Román
Tatiana Romero García
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