Advance: Llopis Follows Evita

The documentary La sombra de Evita (Xavier Gassió, 2011) revolves around the visit, in 1947, of Eva Peron in Franco’s Spain and the impact it had on her public figure, both internationally and at her country

gira en torno a la visita que, en 1947, Eva Perón hizo a la España franquista y las consecuencias que tuvo en su figura pública a nivel internacional y en su propio país. Music is by Iván Llopis (Valencia, 1981), who won the 2010 Jerry Goldsmith Award for Best Animated Short Film music for Margarita, and had been a finalist the previous year in the same category for Toy Matters (2009). He leads the musical production company Banjo Music in Barcelona, with which he has assumed different projects in the audiovisual media, including two of the luckiest Freixenet Champagne Christmas campaigns. For this documentary he has written an austere and emotive score with strong presence of the piano. Soon we will offer an interview with him, where he will detail us more about his work in this documentary.

El documental La sombra de Evita (Xavier Gassió, 2011) gira en torno a la visita que, en 1947, Eva Perón hizo a la España franquista y las consecuencias que tuvo en su figura pública a nivel internacional y en su propio país. La música la pone Iván Llopis (Valencia, 1981), que ganó en 2010 el Premio Jerry Goldsmith a la mejor música en cortometraje de animación por Margarita, y que había sido finalista el año anterior en la misma categoría por Toy Matters (2009) .Está al frente de una empresa de producción musical Banjo Music, en Barcelona, con la que ya ha asumido diferentes proyectos en el medio audivisual. entre ellos dos de las más afortunadas campañas navideñas del Cava Freixenet. Para este documental ha escrito una austera y emotiva partitura con destacada presencia del piano. En breve os ofreceremos una entrevista con él, donde podrá detallarnos más cosas de su trabajo en este documental.

A Behind the Toast Interview with Ivan Llopis

(haz clic en Read More para acceder a la traducción en español)

The music for advertisements is largely unknown among the musics applied for the audiovisual media, basically because its authors are not credited. But in MundoBSO/The Spanish Connection we want to reserve the space they deserve and today we talk with Iván Llopis (Valencia, 1981), who won the 2010 Jerry Goldsmith Award for Best Animated Short Film music for Margarita, and had been a finalist the previous year in the same category for Toy Matters (2009). He leads the musical production company Banjo Music in Barcelona, ​​with which he has assumed different projects in the audiovisual media, including two of the luckiest Freixenet Champagne Christmas campaigns: the starred by Gemma Mengual Olympic team (see here) and the one of this last Christmas, on which he explains its creative process.

• How did you approached musically to this advertisement?

In this advertisement there were two elements that were very attractive and to which somehow we should put in one common place: on the one hand, a marked racial and flamenco component, and in other classic elements. In this advertisement there were going to participate members of the Cuerpo Nacional de Danza joining the bubbles so beautifully done by Pep Bor, so all the environment should be harmonious and magical.

• Did you receive any musical reference?

No. I made a musical proposal that they liked, so I developed a long piece on which the characters danced. Then, with the final editing the director gave me, I arranged and made adjustements on the music.

• The music has strenght, it is forceful

In fact, the intention was to do flamenco but without doing flamenco. We liked the idea of ​​using the mark and the nerve of the flamenco, and I tried to use the orchestra as if they were instruments of percussion, and I added strings and brasses, and then I harmonize all. I intended to generate a kind of chaos in the form of a great musical fireworks. The purpose, of course, was that the result should be attractive and explosive. A thematic level, I did it around five notes that are repeated constantly. although changing its structure. The process of composition and orchestration were one, I like to work from the beginning as far as possible with the sound elements and shape them. That is, to section to the minimum possible the compositional process, and think both on strings as in synthesizers, filters and reverbs. Everything affects the musical discourse. On the MIDI demo we recorded everything in blocks, with orchestra, electronics and samplers.

• In what projects are you involved now?

Well, we are still working in advertising, we have just signed a couple of animated series and this year I start a personal project, I will give details…

Here you have the Making Of of the score:

© Conrado Xalabarder y MundoBSO, 2012