The composer Fernando Lázaro takes us with his work to irresistible worlds of beauty, dream landscapes, colouristic expressions where it is all blended together -as it should be in every work of art- the reasoning and the beauty, the truth and fantasy. Great teachers and maestros have agreed that he possesses very special  intuition and ‘grace’ not all ordinary, and with something as important as a personal signature which identifies him. In fact, the great Spanish composer Antón Garcia Abril took him in his classes after having listened to some of his work.

It would be pointless to keep going on about the wealth of emotions and sentiments that each of these compositions express. However it is good to remember that in every moment of our history, the good artist has always know how to be ahead of his time and on the cutting edge of the world to come, or, in Fernando’s own words, ‘ to open a fan to new possibilities and risk as much as possible, to accomplish artistically bold projects’. This is amongst many others, the merit of the work of our artist, Fernando Lázaro, who has always known how to integrate the musical knowledge and convert it into the most humane art, knowing to speak to the sensibility. From his heart, first and foremost then from his hands come the most beautiful realities which he offers to our pleasure.

Fernando is a composer of his time, although he has also pored over - above all before- in other types of compositions, recreating himself in styles from other eras, his knowledge and wealth have also helped him in defining his current style. Precisely, knowing these styles have made it possible for the ballet ‘The Burning Village’ (Das Brennende Dorf) to be able to compose scenes based in other periods or making reference to them, for the script requirement.

His current work has another style, it is more mature, but the essence is the same. All we have to do is listen to ‘Evocation nº 1’, composed in 1993, at only 19 years of age, perceive that it could perfectly have been composed today, perhaps with different coordinates, but with the same intuition, being probably one of earliest most creative and interesting works of his catalogue. 

The spirit of the traveller after having gone through landscapes filled with music, life, colour, is soothed when silence arrives and takes over forever that which music is known to transmit. ‘in a soothed silence’  it is, definitely, where you can meditate, ponder over, enjoy and fill the heart with joy and appreciation to Fernando Lázaro, for taking us closer to the realest unreality: that place where art gets confused with inner peace and explodes in colour and sounds.

Luis Prensa Villegas
PhD in History, Senior Lecturer of Musicology and Medieval Music