Enter the music of the lyrics and the poetry that brings the music to life

creative life Luis Villalt I was a journey, a round trip, between music and literature. Two disciplines that in his conception were inseparable. “Without music, there is no song,” he claims. It is no coincidence that his poetic production includes titles such as reserved music, Noise or Orpheus modulation. For the iso, you have to add it to the play Concert for singles homethat is, the narrative text of Sin silence, we practicedand essays how To lingua two sons and The other side gives music, poetry. The latter clarified the relationship between obverse and reverse, which his work achieved through word and sound.

Duality also played a part in his academic and work life. She graduated in Latin American and Galician-Portuguese philology and with a higher diploma in violin, was a teacher in different centers for secondary education and was also part of musical formations, orchestral, chamber or more related to the Galician tradition, such as Scanio, with which she played, in 1977, “songs based on popular raigames”.

Porén, Villalta always made it clear that in this coexistence between music and literature, his vocation was better placed in the latter. “Between two interesting activities, I decided on literature because it seemed more creative to me.” But music opened up a personal perspective that fixed his work, it fits, something even more unique, and this was manifested in his written perception. For example, when he analyzed two of his references, Manuel Antonio: “He is avant-garde, he is anti-sentimental. It tends to the abstraction that is my musical. Or seu reflexo or dodecaphonism”. From Avilés de Taramancos, “friend and encourager”, he kept the handwritten and illustrated original autumn concert. From composers, he liked to quote Bach, Brahms and Ligeti.

His native Coruña was also a notable presence in his work. The city in good measure arms his great poetic work of maturity, Specificallypublished in the same year of his death, season number 2004. His lyrics about the neighborhood where a parrot without the homonymous volume with Maribel Longueira’s photographs. The acidity of the life that inhabits it, of music and literature, was clear, not the bottom, during the vital event: “Life is a constant theme,” said Villalta.